diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 1763-0.txt | 862 | ||||
| -rw-r--r-- | 1763-0.zip | bin | 0 -> 18468 bytes | |||
| -rw-r--r-- | 1763-h.zip | bin | 0 -> 19750 bytes | |||
| -rw-r--r-- | 1763-h/1763-h.htm | 976 | ||||
| -rw-r--r-- | 1763.txt | 861 | ||||
| -rw-r--r-- | 1763.zip | bin | 0 -> 18250 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/ntrfk10.txt | 899 | ||||
| -rw-r--r-- | old/ntrfk10.zip | bin | 0 -> 16794 bytes |
11 files changed, 3614 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/1763-0.txt b/1763-0.txt new file mode 100644 index 0000000..8eec6d1 --- /dev/null +++ b/1763-0.txt @@ -0,0 +1,862 @@ +The Project Gutenberg EBook of The Nature Faker, by Richard Harding Davis + +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: The Nature Faker + +Author: Richard Harding Davis + +Posting Date: October 28, 2008 [EBook #1763] +Release Date: May, 1999 +Last Updated: September 26, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE NATURE FAKER *** + + + + +Produced by Aaron Cannon + + + + + +THE NATURE FAKER + +By Richard Harding Davis + + + +Richard Herrick was a young man with a gentle disposition, much +money, and no sense of humor. His object in life was to marry Miss +Catherweight. For three years she had tried to persuade him this could +not be, and finally, in order to convince him, married some one else. +When the woman he loves marries another man, the rejected one is +popularly supposed to take to drink or to foreign travel. Statistics +show that, instead, he instantly falls in love with the best friend of +the girl who refused him. But, as Herrick truly loved Miss Catherweight, +he could not worship any other woman, and so he became a lover of +nature. Nature, he assured his men friends, does not disappoint you. The +more thought, care, affection you give to nature, the more she gives +you in return, and while, so he admitted, in wooing nature there are +no great moments, there are no heart-aches. Jackson, one of the men +friends, and of a frivolous disposition, said that he also could admire +a landscape, but he would rather look at the beautiful eyes of a girl +he knew than at the Lakes of Killarney, with a full moon, a setting sun, +and the aurora borealis for a background. Herrick suggested that, +while the beautiful eyes might seek those of another man, the Lakes of +Killarney would always remain where you could find them. Herrick pursued +his new love in Connecticut on an abandoned farm which he converted into +a “model” one. On it he established model dairies and model incubators. +He laid out old-fashioned gardens, sunken gardens, Italian gardens, +landscape gardens, and a game preserve. + +The game preserve was his own especial care and pleasure. It consisted +of two hundred acres of dense forest and hills and ridges of rock. It +was filled with mysterious caves, deep chasms, tiny gurgling streams, +nestling springs, and wild laurel. It was barricaded with fallen +tree-trunks and moss-covered rocks that had never felt the foot of man +since that foot had worn a moccasin. Around the preserve was a high +fence stout enough to keep poachers on the outside and to persuade +the wild animals that inhabited it to linger on the inside. These wild +animals were squirrels, rabbits, and raccoons. Every day, in sunshine +or in rain, entering through a private gate, Herrick would explore this +holy of holies. For such vermin as would destroy the gentler animals +he carried a gun. But it was turned only on those that preyed upon his +favorites. For hours he would climb through this wilderness, or, seated +on a rock, watch a bluebird building her nest or a squirrel laying in +rations against the coming of the snow. In time he grew to think he knew +and understood the inhabitants of this wild place of which he was the +overlord. He looked upon them not as his tenants but as his guests. And +when they fled from him in terror to caves and hollow tree-trunks, he +wished he might call them back and explain he was their friend, that it +was due to him they lived in peace. He was glad they were happy. He was +glad it was through him that, undisturbed, they could live the simple +life. + +His fall came through ambition. Herrick himself attributed it to his +too great devotion to nature and nature’s children. Jackson, he of the +frivolous mind, attributed it to the fact that any man is sure to come +to grief who turns from the worship of God’s noblest handiwork, by which +Jackson meant woman, to worship chipmunks and Plymouth Rock hens. One +night Jackson lured Herrick into New York to a dinner and a music hall. +He invited also one Kelly, a mutual friend of a cynical and combative +disposition. Jackson liked to hear him and Herrick abuse each other, and +always introduced subjects he knew would cause each to lose his temper. + +But, on this night, Herrick needed no goading. He was in an ungrateful +mood. Accustomed to food fresh from the soil and the farmyard, he +sneered at hothouse asparagus, hothouse grapes, and cold-storage quail. +At the music hall he was even more difficult. In front of him sat a +stout lady who when she shook with laughter shed patchouli and a man who +smoked American cigarettes. At these and the steam heat, the nostrils of +Herrick, trained to the odor of balsam and the smoke of open wood fires, +took offense. He refused to be amused. The monologue artist, in whom +Jackson found delight, caused Herrick only to groan; the knockabout +comedians he hoped would break their collar-bones; the lady who danced +Salome, and who fascinated Kelly, Herrick prayed would catch pneumonia +and die of it. And when the drop rose upon the Countess Zichy’s bears, +his dissatisfaction reached a climax. + +There were three bears--a large papa bear, a mamma bear, and the baby +bear. On the programme they were described as Bruno, Clara, and Ikey. +They were of a dusty brown, with long, curling noses tipped with white, +and fat, tan-colored bellies. When father Bruno, on his hind legs and +bare feet, waddled down the stage, he resembled a Hebrew gentleman in a +brown bathing suit who had lost his waist-line. As he tripped doubtfully +forward, with mincing steps, he continually and mournfully wagged his +head. He seemed to be saying: “This water is much too cold for me.” The +mamma bear was dressed in a poke bonnet and white apron, and resembled +the wolf who frightened Little Red Riding-Hood, and Ikey, the baby bear, +wore rakishly over one eye the pointed cap of a clown. To those who knew +their vaudeville, this was indisputable evidence that Ikey would furnish +the comic relief. Nor did Ikey disappoint them. He was a wayward son. +When his parents were laboriously engaged in a boxing-match, or dancing +to the “Merry Widow Waltz,” or balancing on step-ladders, Ikey, on all +fours, would scamper to the foot-lights and, leaning over, make a swift +grab at the head of the first trombone. And when the Countess Zichy, +apprised by the shouts of the audience of Ikey’s misconduct, waved a toy +whip, Ikey would gallop back to his pedestal and howl at her. To every +one, except Herrick and the first trombone, this playfulness on the part +of Ikey furnished great delight. + +The performances of the bears ended with Bruno and Clara dancing heavily +to the refrain of the “Merry Widow Waltz,” while Ikey pretended to +conduct the music of the orchestra. On the final call, Madame Zichy +threw to each of the animals a beer bottle filled with milk; and the +gusto with which the savage-looking beasts uncorked the bottles and +drank from them greatly amused the audience. Ikey, standing on his hind +legs, his head thrown back, with both paws clasping the base of the +bottle, shoved the neck far down his throat, and then, hurling it +from him, and cocking his clown’s hat over his eyes, gave a masterful +imitation of a very intoxicated bear. + +“That,” exclaimed Herrick hotly, “is a degrading spectacle. It degrades +the bear and degrades me and you.” + +“No, it bores me,” said Kelly. + +“If you understood nature,” retorted Herrick, “and nature’s children, it +would infuriate you.” + +“I don’t go to a music hall to get infuriated,” said Kelly. + +“Trained dogs I don’t mind,” exclaimed Herrick. “Dogs are not wild +animals. The things they’re trained to do are of USE. They can guard the +house, or herd sheep. But a bear is a wild beast. Always will be a wild +beast. You can’t train him to be of use. It’s degrading to make him ride +a bicycle. I hate it! If I’d known there were to be performing bears +to-night, I wouldn’t have come!” + +“And if I’d known you were to be here to-night, I wouldn’t have come!” + said Kelly. “Where do we go to next?” + +They went next to a restaurant in a gayly decorated cellar. Into this +young men like themselves and beautiful ladies were so anxious to hurl +themselves that to restrain them a rope was swung across the entrance +and page boys stood on guard. When a young man became too anxious to +spend his money, the page boys pushed in his shirt front. After they +had fought their way to a table, Herrick ungraciously remarked he would +prefer to sup in a subway station. The people, he pointed out, would be +more human, the decorations were much of the same Turkish-bath school of +art, and the air was no worse. + +“Cheer up, Clarence!” begged Jackson, “you’ll soon be dead. To-morrow +you’ll be back among your tree-toads and sunsets. And, let us hope,” he +sighed, “no one will try to stop you!” + +“What worries me is this,” explained Herrick. “I can’t help thinking +that, if one night of this artificial life is so hard upon me, what must +it be to those bears!” + +Kelly exclaimed, with exasperation: “Confound the bears!” he cried. “If +you must spoil my supper weeping over animals, weep over cart-horses. +They work. Those bears are loafers. They’re as well fed as pet canaries. +They’re aristocrats.” + +“But it’s not a free life!” protested Herrick. “It’s not the life they +love.” + +“It’s a darned sight better,” declared Kelly, “than sleeping in a damp +wood, eating raw blackberries----” + +“The more you say,” retorted Herrick, “the more you show you know +nothing whatsoever of nature’s children and their habits.” + +“And all you know of them,” returned Kelly, “is that a cat has nine +lives, and a barking dog won’t bite. You’re a nature faker.” Herrick +refused to be diverted. + +“It hurt me,” he said. “They were so big, and good-natured, and +helpless. I’ll bet that woman beats them! I kept thinking of them as +they were in the woods, tramping over the clean pine needles, eating +nuts, and--and honey, and----” + +“Buns!” suggested Jackson. + +“I can’t forget them,” said Herrick. “It’s going to haunt me, to-morrow, +when I’m back in the woods; I’ll think of those poor beasts capering +in a hot theatre, when they ought to be out in the open as God meant +they----” + +“Well, then,” protested Kelly, “take ‘em to the open. And turn ‘em +loose! And I hope they bite YOU!” + +At this Herrick frowned so deeply that Kelly feared he had gone too far. +Inwardly, he reproved himself for not remembering that his friend lacked +a sense of humor. But Herrick undeceived him. + +“You are right!” he exclaimed. “To-morrow I will buy those bears, take +them to the farm, and turn them loose!” + +No objections his friend could offer could divert him from his purpose. +When they urged that to spend so much money in such a manner was +criminally wasteful, he pointed out that he was sufficiently rich to +indulge any extravagant fancy, whether in polo ponies or bears; when +they warned him that if he did not look out the bears would catch him +alone in the woods, and eat him, he retorted that the bears were now +educated to a different diet; when they said he should consider the +peace of mind of his neighbors, he assured them the fence around his +game preserve would restrain an elephant. + +“Besides,” protested Kelly, “what you propose to do is not only +impracticable, but it’s cruelty to animals. A domesticated animal can’t +return to a state of nature, and live.” + +“Can’t it?” jeered Herrick. “Did you ever read ‘The Call of the Wild’?” + +“Did you ever read,” retorted Kelly, “what happened at the siege of +Ladysmith when the oats ran low and they drove the artillery horses out +to grass? They starved, that’s all. And if you don’t feed your bears on +milk out of a bottle they’ll starve too.” + +“That’s what will happen,” cried Jackson; “those bears have forgotten +what a pine forest smells like. Maybe it’s a pity, but it’s the fact. +I’ll bet if you could ask them whether they’d rather sleep in a cave +on your farm or be headliners in vaudeville, they’d tell you they were +‘devoted to their art.’” + +“Why!” exclaimed Kelly, “they’re so far from nature that if they didn’t +have that colored boy to comb and brush them twice a day they’d be +ashamed to look each other in the eyes.” + +“And another thing,” continued Jackson, “trained animals love to ‘show +off.’ They’re children. Those bears ENJOY doing those tricks. They ENJOY +the applause. They enjoy dancing to the ‘Merry Widow Waltz.’ And if you +lock them up in your jungle, they’ll get so homesick that they’ll give a +performance twice a day to the squirrels and woodpeckers.” + +“It’s just as hard to unlearn a thing as to learn it,” said Kelly +sententiously. “You can’t make a man who has learned to wear shoes enjoy +going around in his bare feet.” + +“Rot!” cried Herrick. “Look at me. Didn’t I love New York? I loved it so +I never went to bed for fear I’d miss something. But when I went ‘Back +to the Land,’ did it take me long to fall in love with the forests and +the green fields? It took me a week. I go to bed now the same day I get +up, and I’ve passed on my high hat and frock coat to a scarecrow. And +I’ll bet you when those bears once scent the wild woods they’ll stampede +for them like Croker going to a third alarm.” + +“And I repeat,” cried Kelly, “you are a nature faker. And I’ll leave it +to the bears to prove it.” + +“We have done our best,” sighed Jackson. “We have tried to save him +money and trouble. And now all he can do for us in return is to give us +seats for the opening performance.” + +What the bears cost Herrick he never told. But it was a very large sum. +As the Countess Zichy pointed out, bears as bears, in a state of nature, +are cheap. If it were just a bear he wanted, he himself could go to +Pike County, Pennsylvania, and trap one. What he was paying for, she +explained, was the time she had spent in educating the Bruno family, and +added to that the time during which she must now remain idle while she +educated another family. + +Herrick knew for what he was paying. It was the pleasure of rescuing +unwilling slaves from bondage. As to their expensive education, if +they returned to a state of ignorance as rapidly as did most college +graduates he knew, he would be satisfied. Two days later, when her +engagement at the music hall closed, Madame Zichy reluctantly turned +over her pets to their new manager. With Ikey she was especially loath +to part. + +“I’ll never get one like him,” she wailed, “Ikey is the funniest +four-legged clown in America. He’s a natural-born comedian. Folks think +I learn him those tricks, but it’s all his own stuff. Only last week we +was playing Paoli’s in Bridgeport, and when I was putting Bruno through +the hoops, Ikey runs to the stage-box and grabs a pound of caramels out +of a girl’s lap-and swallows the box. And in St. Paul, if the trombone +hadn’t worn a wig, Ikey would have scalped him. Say, it was a scream! +When the audience see the trombone snatched bald-headed, and him trying +to get back his wig, and Ikey chewing it, they went crazy. You can’t +learn a bear tricks like that. It’s just genius. Some folks think I +taught him to act like he was intoxicated, but he picked that up, too, +all by himself, through watching my husband. And Ikey’s very fond of +beer on his own account. If I don’t stop them, the stage hands would be +always slipping him drinks. I hope you won’t give him none.” + +“I will not!” said Herrick. + +The bears, Ikey in one cage and Bruno and Clara in another, travelled +by express to the station nearest the Herrick estate. There they were +transferred to a farm wagon, and grumbling and growling, and with +Ikey howling like an unspanked child, they were conveyed to the game +preserve. At the only gate that entered it, Kelly and Jackson and a +specially invited house party of youths and maidens were gathered to +receive them. At a greater distance stood all of the servants and farm +hands, and as the wagon backed against the gate, with the door of Ikey’s +cage opening against it, the entire audience, with one accord, moved +solidly to the rear. Herrick, with a pleased but somewhat nervous smile, +mounted the wagon. But before he could unlock the cage Kelly demanded to +be heard. He insisted that, following the custom of all great artists, +the bears should give a farewell performance. + +He begged that Bruno and Clara might be permitted to dance together. He +pointed out that this would be the last time they could listen to the +strains of the “Merry Widow Waltz.” He called upon everybody present to +whistle it. + +The suggestion of an open-air performance was received coldly. At the +moment no one seemed able to pucker his lips into a whistle, and some +even explained that with that famous waltz they were unfamiliar. + +One girl attained an instant popularity by pointing out that the bears +could waltz just as well on one side of the fence as the other. Kelly, +cheated of his free performance, then begged that before Herrick +condemned the bears to starve on acorns, he should give them a farewell +drink, and Herrick, who was slightly rattled, replied excitedly that +he had not ransomed the animals only to degrade them. The argument was +interrupted by the French chef falling out of a tree. He had climbed it, +he explained, in order to obtain a better view. + +When, in turn, it was explained to him that a bear also could climb +a tree, he remembered he had left his oven door open. His departure +reminded other servants of duties they had neglected, and one of +the guests, also, on remembering he had put in a long-distance call, +hastened to the house. Jackson suggested that perhaps they had better +all return with him, as the presence of so many people might frighten +the bears. At the moment he spoke, Ikey emitted a hideous howl, whether +of joy or rage no one knew, and few remained to find out. It was not +until Herrick had investigated and reported that Ikey was still behind +the bars that the house party cautiously returned. The house party +then filed a vigorous protest. Its members, with Jackson as spokesman, +complained that Herrick was relying entirely too much on his supposition +that the bears would be anxious to enter the forest. Jackson pointed out +that, should they not care to do so, there was nothing to prevent them +from doubling back under the wagon; in which case the house party and +all of the United States lay before them. It was not until a lawn-tennis +net and much chicken wire was stretched in intricate thicknesses +across the lower half of the gate that Herrick was allowed to proceed. +Unassisted, he slid back the cage door, and without a moment’s +hesitation Ikey leaped from the wagon through the gate and into the +preserve. For an instant, dazed by the sudden sunlight, he remained +motionless, and then, after sniffing delightedly at the air, stuck his +nose deep into the autumn leaves. Turning on his back, he luxuriously +and joyfully kicked his legs, and rolled from side to side. + +Herrick gave a shout of joy and triumph. “What did I tell you!” he +called. “See how he loves it! See how happy he is.” + +“Not at all,” protested Kelly. “He thought you gave him the sign to +‘roll over.’ Tell him to ‘play dead,’ and he’ll do that.” “Tell ALL +the bears to ‘play dead,’” begged Jackson, “until I’m back in the +billiard-room.” + +Flushed with happiness, Herrick tossed Ikey’s cage out of the wagon, +and opened the door of the one that held Bruno and Clara. On their part, +there was a moment of doubt. As though suspecting a trap, they moved to +the edge of the cage, and gazed critically at the screen of trees and +tangled vines that rose before them. + +“They think it’s a new backdrop,” explained Kelly. + +But the delight with which Ikey was enjoying his bath in the autumn +leaves was not lost upon his parents. Slowly and clumsily they dropped +to the ground. As though they expected to be recalled, each turned to +look at the group of people who had now run to peer through the wire +meshes of the fence. But, as no one spoke and no one signalled, the +three bears, in single file, started toward the edge of the forest. They +had of cleared space to cover only a little distance, and at each step, +as though fearful they would be stopped and punished, one or the other +turned his head. But no one halted them. With quickening footsteps the +bears, now almost at a gallop, plunged forward. The next instant they +were lost to sight, and only the crackling of the underbrush told that +they had come into their own. + +Herrick dropped to the ground and locked himself inside the preserve. + +“I’m going after them,” he called, “to see what they’ll do.” + +There was a frantic chorus of entreaties. + +“Don’t be an ass!” begged Jackson. “They’ll eat you.” Herrick waved his +hand reassuringly. + +“They won’t even see me,” he explained. “I can find my way about this +place better than they can. And I’ll keep to windward of them, and watch +them. Go to the house,” he commanded. “I’ll be with you in an hour, and +report.” + +It was with real relief that, on assembling for dinner, the house party +found Herrick, in high spirits, with the usual number of limbs, and +awaiting them. The experiment had proved a great success. He told how, +unheeded by the bears, he had, without difficulty, followed in their +tracks. For an hour he had watched them. No happy school-children, let +loose at recess, could have embraced their freedom with more obvious +delight. They drank from the running streams, for honey they explored +the hollow tree-trunks, they sharpened their claws on moss-grown rocks, +and among the fallen oak leaves scratched violently for acorns. So +satisfied was Herrick with what he had seen, with the success of his +experiment, and so genuine and unselfish was he in the thought of the +happiness he had brought to the beasts of the forests, that for him no +dinner ever passed more pleasantly. Miss Waring, who sat next to her +host, thought she had seldom met a man with so kind and simple a nature. +She rather resented the fact, and she was inwardly indignant that so +much right feeling and affection could be wasted on farmyard fowls, and +four-footed animals. She felt sure that some nice girl, seated at the +other end of the table, smiling through the light of the wax candles +upon Herrick, would soon make him forget his love of “Nature and +Nature’s children.” She even saw herself there, and this may have made +her exhibit more interest in Herrick’s experiment than she really felt. +In any event, Herrick found her most sympathetic’ and when dinner was +over carried her off to a corner of the terrace. It was a warm night in +early October, and the great woods of the game preserve that stretched +below them were lit with a full moon. + +On his way to the lake for a moonlight row with one of the house party +who belonged to that sex that does not row, but looks well in the +moon-light, Kelly halted, and jeered mockingly. + +“How can you sit there,” he demanded, “while those poor beasts are +freezing in a cave, with not even a silk coverlet or a pillow-sham. You +and your valet ought to be down there now carrying them pajamas.” + +“Kelly,” declared Herrick, unruffled in his moment of triumph, “I hate +to say, ‘I told you so,’ but you force me. Go away,” he commanded. “You +have neither imagination nor soul.” + +“And that’s true,” he assured Miss Waring, as Kelly and his companion +left them. “Now, I see nothing in what I accomplished that is +ridiculous. Had you watched those bears as I did, you would have felt +that sympathy that exists between all who love the out-of-door life. A +dog loves to see his master pick up his stick and his hat to take him +for a walk, and the man enjoys seeing the dog leaping and quartering +the fields before him. They are both the happier. At least I am happier +to-night, knowing those bears are at peace and at home, than I would +be if I thought of them being whipped through their tricks in a dirty +theatre.” Herrick pointed to the great forest trees of the preserve, +their tops showing dimly in the mist of moonlight. “Somewhere, down in +that valley,” he murmured, “are three happy animals. They are no longer +slaves and puppets--they are their own masters. For the rest of their +lives they can sleep on pine needles and dine on nuts and honey. No one +shall molest them, no one shall force them through degrading tricks. +Hereafter they can choose their life, and their own home among the +rocks, and the----” Herrick’s words were frozen on his tongue. From the +other end of the terrace came a scream so fierce, so long, so full of +human suffering, that at the sound the blood of all that heard it turned +to water. It was so appalling that for an instant no one moved, and then +from every part of the house, along the garden walks, from the servants’ +quarters, came the sound of pounding feet. Herrick, with Miss Waring +clutching at his sleeve, raced toward the other end of the terrace. They +had not far to go. Directly in front of them they saw what had dragged +from the very soul of the woman the scream of terror. + +The drawing-room opened upon the terrace, and, seated at the piano, +Jackson had been playing for those in the room to dance. The windows to +the terrace were open. The terrace itself was flooded with moonlight. +Seeking the fresh air, one of the dancers stepped from the drawing-room +to the flags outside. She had then raised the cry of terror and fallen +in a faint. What she had seen, Herrick a moment later also saw. On the +terrace in the moon-light, Bruno and Clara, on their hind legs, were +solemnly waltzing. Neither the scream nor the cessation of the music +disturbed them. Contentedly, proudly, they continued to revolve in hops +and leaps. From their happy expression, it was evident they not only +were enjoying themselves, but that they felt they were greatly affording +immeasurable delight to others. Sick at heart, furious, bitterly hurt, +with roars of mocking laughter in his ears, Herrick ran toward the +stables for help. At the farther end of the terrace the butler had +placed a tray of liqueurs, whiskeys, and soda bottles. His back had been +turned for only a few moments, but the time had sufficed. + +Lolling with his legs out, stretched in a wicker chair, Herrick beheld +the form of Ikey. Between his uplifted paws he held aloof the base of +a decanter; between his teeth, and well jammed down his throat, was the +long neck of the bottle. From it issued the sound of gentle gurgling. +Herrick seized the decanter and hurled it crashing upon the terrace. +With difficulty Ikey rose. Swaying and shaking his head reproachfully, +he gave Herrick a perfectly accurate imitation of an intoxicated bear. + + + + + +End of Project Gutenberg’s The Nature Faker, by Richard Harding Davis + +*** END OF THIS PROJECT GUTENBERG EBOOK THE NATURE FAKER *** + +***** This file should be named 1763-0.txt or 1763-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/6/1763/ + +Produced by Aaron Cannon + +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 +http://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 http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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/1763-0.zip b/1763-0.zip Binary files differnew file mode 100644 index 0000000..a00560f --- /dev/null +++ b/1763-0.zip diff --git a/1763-h.zip b/1763-h.zip Binary files differnew file mode 100644 index 0000000..ea24a4e --- /dev/null +++ b/1763-h.zip diff --git a/1763-h/1763-h.htm b/1763-h/1763-h.htm new file mode 100644 index 0000000..84828f2 --- /dev/null +++ b/1763-h/1763-h.htm @@ -0,0 +1,976 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + The Nature Faker, by Richard Harding Davis + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of The Nature Faker, by Richard Harding Davis + +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: The Nature Faker + +Author: Richard Harding Davis + +Release Date: October 28, 2008 [EBook #1763] +Last Updated: September 26, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE NATURE FAKER *** + + + + +Produced by Aaron Cannon, and David Widger + + + + + +</pre> + <p> + <br /><br /> + </p> + <h1> + THE NATURE FAKER + </h1> + <p> + <br /> + </p> + <h2> + By Richard Harding Davis + </h2> + <p> + <br /> <br /> + </p> + <hr /> + <p> + <br /> <br /> + </p> + <p> + Richard Herrick was a young man with a gentle disposition, much money, and + no sense of humor. His object in life was to marry Miss Catherweight. For + three years she had tried to persuade him this could not be, and finally, + in order to convince him, married some one else. When the woman he loves + marries another man, the rejected one is popularly supposed to take to + drink or to foreign travel. Statistics show that, instead, he instantly + falls in love with the best friend of the girl who refused him. But, as + Herrick truly loved Miss Catherweight, he could not worship any other + woman, and so he became a lover of nature. Nature, he assured his men + friends, does not disappoint you. The more thought, care, affection you + give to nature, the more she gives you in return, and while, so he + admitted, in wooing nature there are no great moments, there are no + heart-aches. Jackson, one of the men friends, and of a frivolous + disposition, said that he also could admire a landscape, but he would + rather look at the beautiful eyes of a girl he knew than at the Lakes of + Killarney, with a full moon, a setting sun, and the aurora borealis for a + background. Herrick suggested that, while the beautiful eyes might seek + those of another man, the Lakes of Killarney would always remain where you + could find them. Herrick pursued his new love in Connecticut on an + abandoned farm which he converted into a “model” one. On it he established + model dairies and model incubators. He laid out old-fashioned gardens, + sunken gardens, Italian gardens, landscape gardens, and a game preserve. + </p> + <p> + The game preserve was his own especial care and pleasure. It consisted of + two hundred acres of dense forest and hills and ridges of rock. It was + filled with mysterious caves, deep chasms, tiny gurgling streams, nestling + springs, and wild laurel. It was barricaded with fallen tree-trunks and + moss-covered rocks that had never felt the foot of man since that foot had + worn a moccasin. Around the preserve was a high fence stout enough to keep + poachers on the outside and to persuade the wild animals that inhabited it + to linger on the inside. These wild animals were squirrels, rabbits, and + raccoons. Every day, in sunshine or in rain, entering through a private + gate, Herrick would explore this holy of holies. For such vermin as would + destroy the gentler animals he carried a gun. But it was turned only on + those that preyed upon his favorites. For hours he would climb through + this wilderness, or, seated on a rock, watch a bluebird building her nest + or a squirrel laying in rations against the coming of the snow. In time he + grew to think he knew and understood the inhabitants of this wild place of + which he was the overlord. He looked upon them not as his tenants but as + his guests. And when they fled from him in terror to caves and hollow + tree-trunks, he wished he might call them back and explain he was their + friend, that it was due to him they lived in peace. He was glad they were + happy. He was glad it was through him that, undisturbed, they could live + the simple life. + </p> + <p> + His fall came through ambition. Herrick himself attributed it to his too + great devotion to nature and nature’s children. Jackson, he of the + frivolous mind, attributed it to the fact that any man is sure to come to + grief who turns from the worship of God’s noblest handiwork, by which + Jackson meant woman, to worship chipmunks and Plymouth Rock hens. One + night Jackson lured Herrick into New York to a dinner and a music hall. He + invited also one Kelly, a mutual friend of a cynical and combative + disposition. Jackson liked to hear him and Herrick abuse each other, and + always introduced subjects he knew would cause each to lose his temper. + </p> + <p> + But, on this night, Herrick needed no goading. He was in an ungrateful + mood. Accustomed to food fresh from the soil and the farmyard, he sneered + at hothouse asparagus, hothouse grapes, and cold-storage quail. At the + music hall he was even more difficult. In front of him sat a stout lady + who when she shook with laughter shed patchouli and a man who smoked + American cigarettes. At these and the steam heat, the nostrils of Herrick, + trained to the odor of balsam and the smoke of open wood fires, took + offense. He refused to be amused. The monologue artist, in whom Jackson + found delight, caused Herrick only to groan; the knockabout comedians he + hoped would break their collar-bones; the lady who danced Salome, and who + fascinated Kelly, Herrick prayed would catch pneumonia and die of it. And + when the drop rose upon the Countess Zichy’s bears, his dissatisfaction + reached a climax. + </p> + <p> + There were three bears—a large papa bear, a mamma bear, and the baby + bear. On the programme they were described as Bruno, Clara, and Ikey. They + were of a dusty brown, with long, curling noses tipped with white, and + fat, tan-colored bellies. When father Bruno, on his hind legs and bare + feet, waddled down the stage, he resembled a Hebrew gentleman in a brown + bathing suit who had lost his waist-line. As he tripped doubtfully + forward, with mincing steps, he continually and mournfully wagged his + head. He seemed to be saying: “This water is much too cold for me.” The + mamma bear was dressed in a poke bonnet and white apron, and resembled the + wolf who frightened Little Red Riding-Hood, and Ikey, the baby bear, wore + rakishly over one eye the pointed cap of a clown. To those who knew their + vaudeville, this was indisputable evidence that Ikey would furnish the + comic relief. Nor did Ikey disappoint them. He was a wayward son. When his + parents were laboriously engaged in a boxing-match, or dancing to the + “Merry Widow Waltz,” or balancing on step-ladders, Ikey, on all fours, + would scamper to the foot-lights and, leaning over, make a swift grab at + the head of the first trombone. And when the Countess Zichy, apprised by + the shouts of the audience of Ikey’s misconduct, waved a toy whip, Ikey + would gallop back to his pedestal and howl at her. To every one, except + Herrick and the first trombone, this playfulness on the part of Ikey + furnished great delight. + </p> + <p> + The performances of the bears ended with Bruno and Clara dancing heavily + to the refrain of the “Merry Widow Waltz,” while Ikey pretended to conduct + the music of the orchestra. On the final call, Madame Zichy threw to each + of the animals a beer bottle filled with milk; and the gusto with which + the savage-looking beasts uncorked the bottles and drank from them greatly + amused the audience. Ikey, standing on his hind legs, his head thrown + back, with both paws clasping the base of the bottle, shoved the neck far + down his throat, and then, hurling it from him, and cocking his clown’s + hat over his eyes, gave a masterful imitation of a very intoxicated bear. + </p> + <p> + “That,” exclaimed Herrick hotly, “is a degrading spectacle. It degrades + the bear and degrades me and you.” + </p> + <p> + “No, it bores me,” said Kelly. + </p> + <p> + “If you understood nature,” retorted Herrick, “and nature’s children, it + would infuriate you.” + </p> + <p> + “I don’t go to a music hall to get infuriated,” said Kelly. + </p> + <p> + “Trained dogs I don’t mind,” exclaimed Herrick. “Dogs are not wild + animals. The things they’re trained to do are of USE. They can guard the + house, or herd sheep. But a bear is a wild beast. Always will be a wild + beast. You can’t train him to be of use. It’s degrading to make him ride a + bicycle. I hate it! If I’d known there were to be performing bears + to-night, I wouldn’t have come!” + </p> + <p> + “And if I’d known you were to be here to-night, I wouldn’t have come!” + said Kelly. “Where do we go to next?” + </p> + <p> + They went next to a restaurant in a gayly decorated cellar. Into this + young men like themselves and beautiful ladies were so anxious to hurl + themselves that to restrain them a rope was swung across the entrance and + page boys stood on guard. When a young man became too anxious to spend his + money, the page boys pushed in his shirt front. After they had fought + their way to a table, Herrick ungraciously remarked he would prefer to sup + in a subway station. The people, he pointed out, would be more human, the + decorations were much of the same Turkish-bath school of art, and the air + was no worse. + </p> + <p> + “Cheer up, Clarence!” begged Jackson, “you’ll soon be dead. To-morrow + you’ll be back among your tree-toads and sunsets. And, let us hope,” he + sighed, “no one will try to stop you!” + </p> + <p> + “What worries me is this,” explained Herrick. “I can’t help thinking that, + if one night of this artificial life is so hard upon me, what must it be + to those bears!” + </p> + <p> + Kelly exclaimed, with exasperation: “Confound the bears!” he cried. “If + you must spoil my supper weeping over animals, weep over cart-horses. They + work. Those bears are loafers. They’re as well fed as pet canaries. + They’re aristocrats.” + </p> + <p> + “But it’s not a free life!” protested Herrick. “It’s not the life they + love.” + </p> + <p> + “It’s a darned sight better,” declared Kelly, “than sleeping in a damp + wood, eating raw blackberries——” + </p> + <p> + “The more you say,” retorted Herrick, “the more you show you know nothing + whatsoever of nature’s children and their habits.” + </p> + <p> + “And all you know of them,” returned Kelly, “is that a cat has nine lives, + and a barking dog won’t bite. You’re a nature faker.” Herrick refused to + be diverted. + </p> + <p> + “It hurt me,” he said. “They were so big, and good-natured, and helpless. + I’ll bet that woman beats them! I kept thinking of them as they were in + the woods, tramping over the clean pine needles, eating nuts, and—and + honey, and——” + </p> + <p> + “Buns!” suggested Jackson. + </p> + <p> + “I can’t forget them,” said Herrick. “It’s going to haunt me, to-morrow, + when I’m back in the woods; I’ll think of those poor beasts capering in a + hot theatre, when they ought to be out in the open as God meant they——” + </p> + <p> + “Well, then,” protested Kelly, “take ‘em to the open. And turn ‘em loose! + And I hope they bite YOU!” + </p> + <p> + At this Herrick frowned so deeply that Kelly feared he had gone too far. + Inwardly, he reproved himself for not remembering that his friend lacked a + sense of humor. But Herrick undeceived him. + </p> + <p> + “You are right!” he exclaimed. “To-morrow I will buy those bears, take + them to the farm, and turn them loose!” + </p> + <p> + No objections his friend could offer could divert him from his purpose. + When they urged that to spend so much money in such a manner was + criminally wasteful, he pointed out that he was sufficiently rich to + indulge any extravagant fancy, whether in polo ponies or bears; when they + warned him that if he did not look out the bears would catch him alone in + the woods, and eat him, he retorted that the bears were now educated to a + different diet; when they said he should consider the peace of mind of his + neighbors, he assured them the fence around his game preserve would + restrain an elephant. + </p> + <p> + “Besides,” protested Kelly, “what you propose to do is not only + impracticable, but it’s cruelty to animals. A domesticated animal can’t + return to a state of nature, and live.” + </p> + <p> + “Can’t it?” jeered Herrick. “Did you ever read ‘The Call of the Wild’?” + </p> + <p> + “Did you ever read,” retorted Kelly, “what happened at the siege of + Ladysmith when the oats ran low and they drove the artillery horses out to + grass? They starved, that’s all. And if you don’t feed your bears on milk + out of a bottle they’ll starve too.” + </p> + <p> + “That’s what will happen,” cried Jackson; “those bears have forgotten what + a pine forest smells like. Maybe it’s a pity, but it’s the fact. I’ll bet + if you could ask them whether they’d rather sleep in a cave on your farm + or be headliners in vaudeville, they’d tell you they were ‘devoted to + their art.’” + </p> + <p> + “Why!” exclaimed Kelly, “they’re so far from nature that if they didn’t + have that colored boy to comb and brush them twice a day they’d be ashamed + to look each other in the eyes.” + </p> + <p> + “And another thing,” continued Jackson, “trained animals love to ‘show + off.’ They’re children. Those bears ENJOY doing those tricks. They ENJOY + the applause. They enjoy dancing to the ‘Merry Widow Waltz.’ And if you + lock them up in your jungle, they’ll get so homesick that they’ll give a + performance twice a day to the squirrels and woodpeckers.” + </p> + <p> + “It’s just as hard to unlearn a thing as to learn it,” said Kelly + sententiously. “You can’t make a man who has learned to wear shoes enjoy + going around in his bare feet.” + </p> + <p> + “Rot!” cried Herrick. “Look at me. Didn’t I love New York? I loved it so I + never went to bed for fear I’d miss something. But when I went ‘Back to + the Land,’ did it take me long to fall in love with the forests and the + green fields? It took me a week. I go to bed now the same day I get up, + and I’ve passed on my high hat and frock coat to a scarecrow. And I’ll bet + you when those bears once scent the wild woods they’ll stampede for them + like Croker going to a third alarm.” + </p> + <p> + “And I repeat,” cried Kelly, “you are a nature faker. And I’ll leave it to + the bears to prove it.” + </p> + <p> + “We have done our best,” sighed Jackson. “We have tried to save him money + and trouble. And now all he can do for us in return is to give us seats + for the opening performance.” + </p> + <p> + What the bears cost Herrick he never told. But it was a very large sum. As + the Countess Zichy pointed out, bears as bears, in a state of nature, are + cheap. If it were just a bear he wanted, he himself could go to Pike + County, Pennsylvania, and trap one. What he was paying for, she explained, + was the time she had spent in educating the Bruno family, and added to + that the time during which she must now remain idle while she educated + another family. + </p> + <p> + Herrick knew for what he was paying. It was the pleasure of rescuing + unwilling slaves from bondage. As to their expensive education, if they + returned to a state of ignorance as rapidly as did most college graduates + he knew, he would be satisfied. Two days later, when her engagement at the + music hall closed, Madame Zichy reluctantly turned over her pets to their + new manager. With Ikey she was especially loath to part. + </p> + <p> + “I’ll never get one like him,” she wailed, “Ikey is the funniest + four-legged clown in America. He’s a natural-born comedian. Folks think I + learn him those tricks, but it’s all his own stuff. Only last week we was + playing Paoli’s in Bridgeport, and when I was putting Bruno through the + hoops, Ikey runs to the stage-box and grabs a pound of caramels out of a + girl’s lap-and swallows the box. And in St. Paul, if the trombone hadn’t + worn a wig, Ikey would have scalped him. Say, it was a scream! When the + audience see the trombone snatched bald-headed, and him trying to get back + his wig, and Ikey chewing it, they went crazy. You can’t learn a bear + tricks like that. It’s just genius. Some folks think I taught him to act + like he was intoxicated, but he picked that up, too, all by himself, + through watching my husband. And Ikey’s very fond of beer on his own + account. If I don’t stop them, the stage hands would be always slipping + him drinks. I hope you won’t give him none.” + </p> + <p> + “I will not!” said Herrick. + </p> + <p> + The bears, Ikey in one cage and Bruno and Clara in another, travelled by + express to the station nearest the Herrick estate. There they were + transferred to a farm wagon, and grumbling and growling, and with Ikey + howling like an unspanked child, they were conveyed to the game preserve. + At the only gate that entered it, Kelly and Jackson and a specially + invited house party of youths and maidens were gathered to receive them. + At a greater distance stood all of the servants and farm hands, and as the + wagon backed against the gate, with the door of Ikey’s cage opening + against it, the entire audience, with one accord, moved solidly to the + rear. Herrick, with a pleased but somewhat nervous smile, mounted the + wagon. But before he could unlock the cage Kelly demanded to be heard. He + insisted that, following the custom of all great artists, the bears should + give a farewell performance. + </p> + <p> + He begged that Bruno and Clara might be permitted to dance together. He + pointed out that this would be the last time they could listen to the + strains of the “Merry Widow Waltz.” He called upon everybody present to + whistle it. + </p> + <p> + The suggestion of an open-air performance was received coldly. At the + moment no one seemed able to pucker his lips into a whistle, and some even + explained that with that famous waltz they were unfamiliar. + </p> + <p> + One girl attained an instant popularity by pointing out that the bears + could waltz just as well on one side of the fence as the other. Kelly, + cheated of his free performance, then begged that before Herrick condemned + the bears to starve on acorns, he should give them a farewell drink, and + Herrick, who was slightly rattled, replied excitedly that he had not + ransomed the animals only to degrade them. The argument was interrupted by + the French chef falling out of a tree. He had climbed it, he explained, in + order to obtain a better view. + </p> + <p> + When, in turn, it was explained to him that a bear also could climb a + tree, he remembered he had left his oven door open. His departure reminded + other servants of duties they had neglected, and one of the guests, also, + on remembering he had put in a long-distance call, hastened to the house. + Jackson suggested that perhaps they had better all return with him, as the + presence of so many people might frighten the bears. At the moment he + spoke, Ikey emitted a hideous howl, whether of joy or rage no one knew, + and few remained to find out. It was not until Herrick had investigated + and reported that Ikey was still behind the bars that the house party + cautiously returned. The house party then filed a vigorous protest. Its + members, with Jackson as spokesman, complained that Herrick was relying + entirely too much on his supposition that the bears would be anxious to + enter the forest. Jackson pointed out that, should they not care to do so, + there was nothing to prevent them from doubling back under the wagon; in + which case the house party and all of the United States lay before them. + It was not until a lawn-tennis net and much chicken wire was stretched in + intricate thicknesses across the lower half of the gate that Herrick was + allowed to proceed. Unassisted, he slid back the cage door, and without a + moment’s hesitation Ikey leaped from the wagon through the gate and into + the preserve. For an instant, dazed by the sudden sunlight, he remained + motionless, and then, after sniffing delightedly at the air, stuck his + nose deep into the autumn leaves. Turning on his back, he luxuriously and + joyfully kicked his legs, and rolled from side to side. + </p> + <p> + Herrick gave a shout of joy and triumph. “What did I tell you!” he called. + “See how he loves it! See how happy he is.” + </p> + <p> + “Not at all,” protested Kelly. “He thought you gave him the sign to ‘roll + over.’ Tell him to ‘play dead,’ and he’ll do that.” “Tell ALL the bears to + ‘play dead,’” begged Jackson, “until I’m back in the billiard-room.” + </p> + <p> + Flushed with happiness, Herrick tossed Ikey’s cage out of the wagon, and + opened the door of the one that held Bruno and Clara. On their part, there + was a moment of doubt. As though suspecting a trap, they moved to the edge + of the cage, and gazed critically at the screen of trees and tangled vines + that rose before them. + </p> + <p> + “They think it’s a new backdrop,” explained Kelly. + </p> + <p> + But the delight with which Ikey was enjoying his bath in the autumn leaves + was not lost upon his parents. Slowly and clumsily they dropped to the + ground. As though they expected to be recalled, each turned to look at the + group of people who had now run to peer through the wire meshes of the + fence. But, as no one spoke and no one signalled, the three bears, in + single file, started toward the edge of the forest. They had of cleared + space to cover only a little distance, and at each step, as though fearful + they would be stopped and punished, one or the other turned his head. But + no one halted them. With quickening footsteps the bears, now almost at a + gallop, plunged forward. The next instant they were lost to sight, and + only the crackling of the underbrush told that they had come into their + own. + </p> + <p> + Herrick dropped to the ground and locked himself inside the preserve. + </p> + <p> + “I’m going after them,” he called, “to see what they’ll do.” + </p> + <p> + There was a frantic chorus of entreaties. + </p> + <p> + “Don’t be an ass!” begged Jackson. “They’ll eat you.” Herrick waved his + hand reassuringly. + </p> + <p> + “They won’t even see me,” he explained. “I can find my way about this + place better than they can. And I’ll keep to windward of them, and watch + them. Go to the house,” he commanded. “I’ll be with you in an hour, and + report.” + </p> + <p> + It was with real relief that, on assembling for dinner, the house party + found Herrick, in high spirits, with the usual number of limbs, and + awaiting them. The experiment had proved a great success. He told how, + unheeded by the bears, he had, without difficulty, followed in their + tracks. For an hour he had watched them. No happy school-children, let + loose at recess, could have embraced their freedom with more obvious + delight. They drank from the running streams, for honey they explored the + hollow tree-trunks, they sharpened their claws on moss-grown rocks, and + among the fallen oak leaves scratched violently for acorns. So satisfied + was Herrick with what he had seen, with the success of his experiment, and + so genuine and unselfish was he in the thought of the happiness he had + brought to the beasts of the forests, that for him no dinner ever passed + more pleasantly. Miss Waring, who sat next to her host, thought she had + seldom met a man with so kind and simple a nature. She rather resented the + fact, and she was inwardly indignant that so much right feeling and + affection could be wasted on farmyard fowls, and four-footed animals. She + felt sure that some nice girl, seated at the other end of the table, + smiling through the light of the wax candles upon Herrick, would soon make + him forget his love of “Nature and Nature’s children.” She even saw + herself there, and this may have made her exhibit more interest in + Herrick’s experiment than she really felt. In any event, Herrick found her + most sympathetic’ and when dinner was over carried her off to a corner of + the terrace. It was a warm night in early October, and the great woods of + the game preserve that stretched below them were lit with a full moon. + </p> + <p> + On his way to the lake for a moonlight row with one of the house party who + belonged to that sex that does not row, but looks well in the moon-light, + Kelly halted, and jeered mockingly. + </p> + <p> + “How can you sit there,” he demanded, “while those poor beasts are + freezing in a cave, with not even a silk coverlet or a pillow-sham. You + and your valet ought to be down there now carrying them pajamas.” + </p> + <p> + “Kelly,” declared Herrick, unruffled in his moment of triumph, “I hate to + say, ‘I told you so,’ but you force me. Go away,” he commanded. “You have + neither imagination nor soul.” + </p> + <p> + “And that’s true,” he assured Miss Waring, as Kelly and his companion left + them. “Now, I see nothing in what I accomplished that is ridiculous. Had + you watched those bears as I did, you would have felt that sympathy that + exists between all who love the out-of-door life. A dog loves to see his + master pick up his stick and his hat to take him for a walk, and the man + enjoys seeing the dog leaping and quartering the fields before him. They + are both the happier. At least I am happier to-night, knowing those bears + are at peace and at home, than I would be if I thought of them being + whipped through their tricks in a dirty theatre.” Herrick pointed to the + great forest trees of the preserve, their tops showing dimly in the mist + of moonlight. “Somewhere, down in that valley,” he murmured, “are three + happy animals. They are no longer slaves and puppets—they are their + own masters. For the rest of their lives they can sleep on pine needles + and dine on nuts and honey. No one shall molest them, no one shall force + them through degrading tricks. Hereafter they can choose their life, and + their own home among the rocks, and the——” Herrick’s words + were frozen on his tongue. From the other end of the terrace came a scream + so fierce, so long, so full of human suffering, that at the sound the + blood of all that heard it turned to water. It was so appalling that for + an instant no one moved, and then from every part of the house, along the + garden walks, from the servants’ quarters, came the sound of pounding + feet. Herrick, with Miss Waring clutching at his sleeve, raced toward the + other end of the terrace. They had not far to go. Directly in front of + them they saw what had dragged from the very soul of the woman the scream + of terror. + </p> + <p> + The drawing-room opened upon the terrace, and, seated at the piano, + Jackson had been playing for those in the room to dance. The windows to + the terrace were open. The terrace itself was flooded with moonlight. + Seeking the fresh air, one of the dancers stepped from the drawing-room to + the flags outside. She had then raised the cry of terror and fallen in a + faint. What she had seen, Herrick a moment later also saw. On the terrace + in the moon-light, Bruno and Clara, on their hind legs, were solemnly + waltzing. Neither the scream nor the cessation of the music disturbed + them. Contentedly, proudly, they continued to revolve in hops and leaps. + From their happy expression, it was evident they not only were enjoying + themselves, but that they felt they were greatly affording immeasurable + delight to others. Sick at heart, furious, bitterly hurt, with roars of + mocking laughter in his ears, Herrick ran toward the stables for help. At + the farther end of the terrace the butler had placed a tray of liqueurs, + whiskeys, and soda bottles. His back had been turned for only a few + moments, but the time had sufficed. + </p> + <p> + Lolling with his legs out, stretched in a wicker chair, Herrick beheld the + form of Ikey. Between his uplifted paws he held aloof the base of a + decanter; between his teeth, and well jammed down his throat, was the long + neck of the bottle. From it issued the sound of gentle gurgling. Herrick + seized the decanter and hurled it crashing upon the terrace. With + difficulty Ikey rose. Swaying and shaking his head reproachfully, he gave + Herrick a perfectly accurate imitation of an intoxicated bear. + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of Project Gutenberg’s The Nature Faker, by Richard Harding Davis + +*** END OF THIS PROJECT GUTENBERG EBOOK THE NATURE FAKER *** + +***** This file should be named 1763-h.htm or 1763-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/6/1763/ + +Produced by Aaron Cannon, and David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://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 http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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. + + +</pre> + </body> +</html> diff --git a/1763.txt b/1763.txt new file mode 100644 index 0000000..bceb94d --- /dev/null +++ b/1763.txt @@ -0,0 +1,861 @@ +The Project Gutenberg EBook of The Nature Faker, by Richard Harding Davis + +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: The Nature Faker + +Author: Richard Harding Davis + +Posting Date: October 28, 2008 [EBook #1763] +Release Date: May, 1999 + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK THE NATURE FAKER *** + + + + +Produced by Aaron Cannon + + + + + +THE NATURE FAKER + +By Richard Harding Davis + + + +Richard Herrick was a young man with a gentle disposition, much +money, and no sense of humor. His object in life was to marry Miss +Catherweight. For three years she had tried to persuade him this could +not be, and finally, in order to convince him, married some one else. +When the woman he loves marries another man, the rejected one is +popularly supposed to take to drink or to foreign travel. Statistics +show that, instead, he instantly falls in love with the best friend of +the girl who refused him. But, as Herrick truly loved Miss Catherweight, +he could not worship any other woman, and so he became a lover of +nature. Nature, he assured his men friends, does not disappoint you. The +more thought, care, affection you give to nature, the more she gives +you in return, and while, so he admitted, in wooing nature there are +no great moments, there are no heart-aches. Jackson, one of the men +friends, and of a frivolous disposition, said that he also could admire +a landscape, but he would rather look at the beautiful eyes of a girl +he knew than at the Lakes of Killarney, with a full moon, a setting sun, +and the aurora borealis for a background. Herrick suggested that, +while the beautiful eyes might seek those of another man, the Lakes of +Killarney would always remain where you could find them. Herrick pursued +his new love in Connecticut on an abandoned farm which he converted into +a "model" one. On it he established model dairies and model incubators. +He laid out old-fashioned gardens, sunken gardens, Italian gardens, +landscape gardens, and a game preserve. + +The game preserve was his own especial care and pleasure. It consisted +of two hundred acres of dense forest and hills and ridges of rock. It +was filled with mysterious caves, deep chasms, tiny gurgling streams, +nestling springs, and wild laurel. It was barricaded with fallen +tree-trunks and moss-covered rocks that had never felt the foot of man +since that foot had worn a moccasin. Around the preserve was a high +fence stout enough to keep poachers on the outside and to persuade +the wild animals that inhabited it to linger on the inside. These wild +animals were squirrels, rabbits, and raccoons. Every day, in sunshine +or in rain, entering through a private gate, Herrick would explore this +holy of holies. For such vermin as would destroy the gentler animals +he carried a gun. But it was turned only on those that preyed upon his +favorites. For hours he would climb through this wilderness, or, seated +on a rock, watch a bluebird building her nest or a squirrel laying in +rations against the coming of the snow. In time he grew to think he knew +and understood the inhabitants of this wild place of which he was the +overlord. He looked upon them not as his tenants but as his guests. And +when they fled from him in terror to caves and hollow tree-trunks, he +wished he might call them back and explain he was their friend, that it +was due to him they lived in peace. He was glad they were happy. He was +glad it was through him that, undisturbed, they could live the simple +life. + +His fall came through ambition. Herrick himself attributed it to his +too great devotion to nature and nature's children. Jackson, he of the +frivolous mind, attributed it to the fact that any man is sure to come +to grief who turns from the worship of God's noblest handiwork, by which +Jackson meant woman, to worship chipmunks and Plymouth Rock hens. One +night Jackson lured Herrick into New York to a dinner and a music hall. +He invited also one Kelly, a mutual friend of a cynical and combative +disposition. Jackson liked to hear him and Herrick abuse each other, and +always introduced subjects he knew would cause each to lose his temper. + +But, on this night, Herrick needed no goading. He was in an ungrateful +mood. Accustomed to food fresh from the soil and the farmyard, he +sneered at hothouse asparagus, hothouse grapes, and cold-storage quail. +At the music hall he was even more difficult. In front of him sat a +stout lady who when she shook with laughter shed patchouli and a man who +smoked American cigarettes. At these and the steam heat, the nostrils of +Herrick, trained to the odor of balsam and the smoke of open wood fires, +took offense. He refused to be amused. The monologue artist, in whom +Jackson found delight, caused Herrick only to groan; the knockabout +comedians he hoped would break their collar-bones; the lady who danced +Salome, and who fascinated Kelly, Herrick prayed would catch pneumonia +and die of it. And when the drop rose upon the Countess Zichy's bears, +his dissatisfaction reached a climax. + +There were three bears--a large papa bear, a mamma bear, and the baby +bear. On the programme they were described as Bruno, Clara, and Ikey. +They were of a dusty brown, with long, curling noses tipped with white, +and fat, tan-colored bellies. When father Bruno, on his hind legs and +bare feet, waddled down the stage, he resembled a Hebrew gentleman in a +brown bathing suit who had lost his waist-line. As he tripped doubtfully +forward, with mincing steps, he continually and mournfully wagged his +head. He seemed to be saying: "This water is much too cold for me." The +mamma bear was dressed in a poke bonnet and white apron, and resembled +the wolf who frightened Little Red Riding-Hood, and Ikey, the baby bear, +wore rakishly over one eye the pointed cap of a clown. To those who knew +their vaudeville, this was indisputable evidence that Ikey would furnish +the comic relief. Nor did Ikey disappoint them. He was a wayward son. +When his parents were laboriously engaged in a boxing-match, or dancing +to the "Merry Widow Waltz," or balancing on step-ladders, Ikey, on all +fours, would scamper to the foot-lights and, leaning over, make a swift +grab at the head of the first trombone. And when the Countess Zichy, +apprised by the shouts of the audience of Ikey's misconduct, waved a toy +whip, Ikey would gallop back to his pedestal and howl at her. To every +one, except Herrick and the first trombone, this playfulness on the part +of Ikey furnished great delight. + +The performances of the bears ended with Bruno and Clara dancing heavily +to the refrain of the "Merry Widow Waltz," while Ikey pretended to +conduct the music of the orchestra. On the final call, Madame Zichy +threw to each of the animals a beer bottle filled with milk; and the +gusto with which the savage-looking beasts uncorked the bottles and +drank from them greatly amused the audience. Ikey, standing on his hind +legs, his head thrown back, with both paws clasping the base of the +bottle, shoved the neck far down his throat, and then, hurling it +from him, and cocking his clown's hat over his eyes, gave a masterful +imitation of a very intoxicated bear. + +"That," exclaimed Herrick hotly, "is a degrading spectacle. It degrades +the bear and degrades me and you." + +"No, it bores me," said Kelly. + +"If you understood nature," retorted Herrick, "and nature's children, it +would infuriate you." + +"I don't go to a music hall to get infuriated," said Kelly. + +"Trained dogs I don't mind," exclaimed Herrick. "Dogs are not wild +animals. The things they're trained to do are of USE. They can guard the +house, or herd sheep. But a bear is a wild beast. Always will be a wild +beast. You can't train him to be of use. It's degrading to make him ride +a bicycle. I hate it! If I'd known there were to be performing bears +to-night, I wouldn't have come!" + +"And if I'd known you were to be here to-night, I wouldn't have come!" +said Kelly. "Where do we go to next?" + +They went next to a restaurant in a gayly decorated cellar. Into this +young men like themselves and beautiful ladies were so anxious to hurl +themselves that to restrain them a rope was swung across the entrance +and page boys stood on guard. When a young man became too anxious to +spend his money, the page boys pushed in his shirt front. After they +had fought their way to a table, Herrick ungraciously remarked he would +prefer to sup in a subway station. The people, he pointed out, would be +more human, the decorations were much of the same Turkish-bath school of +art, and the air was no worse. + +"Cheer up, Clarence!" begged Jackson, "you'll soon be dead. To-morrow +you'll be back among your tree-toads and sunsets. And, let us hope," he +sighed, "no one will try to stop you!" + +"What worries me is this," explained Herrick. "I can't help thinking +that, if one night of this artificial life is so hard upon me, what must +it be to those bears!" + +Kelly exclaimed, with exasperation: "Confound the bears!" he cried. "If +you must spoil my supper weeping over animals, weep over cart-horses. +They work. Those bears are loafers. They're as well fed as pet canaries. +They're aristocrats." + +"But it's not a free life!" protested Herrick. "It's not the life they +love." + +"It's a darned sight better," declared Kelly, "than sleeping in a damp +wood, eating raw blackberries----" + +"The more you say," retorted Herrick, "the more you show you know +nothing whatsoever of nature's children and their habits." + +"And all you know of them," returned Kelly, "is that a cat has nine +lives, and a barking dog won't bite. You're a nature faker." Herrick +refused to be diverted. + +"It hurt me," he said. "They were so big, and good-natured, and +helpless. I'll bet that woman beats them! I kept thinking of them as +they were in the woods, tramping over the clean pine needles, eating +nuts, and--and honey, and----" + +"Buns!" suggested Jackson. + +"I can't forget them," said Herrick. "It's going to haunt me, to-morrow, +when I'm back in the woods; I'll think of those poor beasts capering +in a hot theatre, when they ought to be out in the open as God meant +they----" + +"Well, then," protested Kelly, "take 'em to the open. And turn 'em +loose! And I hope they bite YOU!" + +At this Herrick frowned so deeply that Kelly feared he had gone too far. +Inwardly, he reproved himself for not remembering that his friend lacked +a sense of humor. But Herrick undeceived him. + +"You are right!" he exclaimed. "To-morrow I will buy those bears, take +them to the farm, and turn them loose!" + +No objections his friend could offer could divert him from his purpose. +When they urged that to spend so much money in such a manner was +criminally wasteful, he pointed out that he was sufficiently rich to +indulge any extravagant fancy, whether in polo ponies or bears; when +they warned him that if he did not look out the bears would catch him +alone in the woods, and eat him, he retorted that the bears were now +educated to a different diet; when they said he should consider the +peace of mind of his neighbors, he assured them the fence around his +game preserve would restrain an elephant. + +"Besides," protested Kelly, "what you propose to do is not only +impracticable, but it's cruelty to animals. A domesticated animal can't +return to a state of nature, and live." + +"Can't it?" jeered Herrick. "Did you ever read 'The Call of the Wild'?" + +"Did you ever read," retorted Kelly, "what happened at the siege of +Ladysmith when the oats ran low and they drove the artillery horses out +to grass? They starved, that's all. And if you don't feed your bears on +milk out of a bottle they'll starve too." + +"That's what will happen," cried Jackson; "those bears have forgotten +what a pine forest smells like. Maybe it's a pity, but it's the fact. +I'll bet if you could ask them whether they'd rather sleep in a cave +on your farm or be headliners in vaudeville, they'd tell you they were +'devoted to their art.'" + +"Why!" exclaimed Kelly, "they're so far from nature that if they didn't +have that colored boy to comb and brush them twice a day they'd be +ashamed to look each other in the eyes." + +"And another thing," continued Jackson, "trained animals love to 'show +off.' They're children. Those bears ENJOY doing those tricks. They ENJOY +the applause. They enjoy dancing to the 'Merry Widow Waltz.' And if you +lock them up in your jungle, they'll get so homesick that they'll give a +performance twice a day to the squirrels and woodpeckers." + +"It's just as hard to unlearn a thing as to learn it," said Kelly +sententiously. "You can't make a man who has learned to wear shoes enjoy +going around in his bare feet." + +"Rot!" cried Herrick. "Look at me. Didn't I love New York? I loved it so +I never went to bed for fear I'd miss something. But when I went 'Back +to the Land,' did it take me long to fall in love with the forests and +the green fields? It took me a week. I go to bed now the same day I get +up, and I've passed on my high hat and frock coat to a scarecrow. And +I'll bet you when those bears once scent the wild woods they'll stampede +for them like Croker going to a third alarm." + +"And I repeat," cried Kelly, "you are a nature faker. And I'll leave it +to the bears to prove it." + +"We have done our best," sighed Jackson. "We have tried to save him +money and trouble. And now all he can do for us in return is to give us +seats for the opening performance." + +What the bears cost Herrick he never told. But it was a very large sum. +As the Countess Zichy pointed out, bears as bears, in a state of nature, +are cheap. If it were just a bear he wanted, he himself could go to +Pike County, Pennsylvania, and trap one. What he was paying for, she +explained, was the time she had spent in educating the Bruno family, and +added to that the time during which she must now remain idle while she +educated another family. + +Herrick knew for what he was paying. It was the pleasure of rescuing +unwilling slaves from bondage. As to their expensive education, if +they returned to a state of ignorance as rapidly as did most college +graduates he knew, he would be satisfied. Two days later, when her +engagement at the music hall closed, Madame Zichy reluctantly turned +over her pets to their new manager. With Ikey she was especially loath +to part. + +"I'll never get one like him," she wailed, "Ikey is the funniest +four-legged clown in America. He's a natural-born comedian. Folks think +I learn him those tricks, but it's all his own stuff. Only last week we +was playing Paoli's in Bridgeport, and when I was putting Bruno through +the hoops, Ikey runs to the stage-box and grabs a pound of caramels out +of a girl's lap-and swallows the box. And in St. Paul, if the trombone +hadn't worn a wig, Ikey would have scalped him. Say, it was a scream! +When the audience see the trombone snatched bald-headed, and him trying +to get back his wig, and Ikey chewing it, they went crazy. You can't +learn a bear tricks like that. It's just genius. Some folks think I +taught him to act like he was intoxicated, but he picked that up, too, +all by himself, through watching my husband. And Ikey's very fond of +beer on his own account. If I don't stop them, the stage hands would be +always slipping him drinks. I hope you won't give him none." + +"I will not!" said Herrick. + +The bears, Ikey in one cage and Bruno and Clara in another, travelled +by express to the station nearest the Herrick estate. There they were +transferred to a farm wagon, and grumbling and growling, and with +Ikey howling like an unspanked child, they were conveyed to the game +preserve. At the only gate that entered it, Kelly and Jackson and a +specially invited house party of youths and maidens were gathered to +receive them. At a greater distance stood all of the servants and farm +hands, and as the wagon backed against the gate, with the door of Ikey's +cage opening against it, the entire audience, with one accord, moved +solidly to the rear. Herrick, with a pleased but somewhat nervous smile, +mounted the wagon. But before he could unlock the cage Kelly demanded to +be heard. He insisted that, following the custom of all great artists, +the bears should give a farewell performance. + +He begged that Bruno and Clara might be permitted to dance together. He +pointed out that this would be the last time they could listen to the +strains of the "Merry Widow Waltz." He called upon everybody present to +whistle it. + +The suggestion of an open-air performance was received coldly. At the +moment no one seemed able to pucker his lips into a whistle, and some +even explained that with that famous waltz they were unfamiliar. + +One girl attained an instant popularity by pointing out that the bears +could waltz just as well on one side of the fence as the other. Kelly, +cheated of his free performance, then begged that before Herrick +condemned the bears to starve on acorns, he should give them a farewell +drink, and Herrick, who was slightly rattled, replied excitedly that +he had not ransomed the animals only to degrade them. The argument was +interrupted by the French chef falling out of a tree. He had climbed it, +he explained, in order to obtain a better view. + +When, in turn, it was explained to him that a bear also could climb +a tree, he remembered he had left his oven door open. His departure +reminded other servants of duties they had neglected, and one of +the guests, also, on remembering he had put in a long-distance call, +hastened to the house. Jackson suggested that perhaps they had better +all return with him, as the presence of so many people might frighten +the bears. At the moment he spoke, Ikey emitted a hideous howl, whether +of joy or rage no one knew, and few remained to find out. It was not +until Herrick had investigated and reported that Ikey was still behind +the bars that the house party cautiously returned. The house party +then filed a vigorous protest. Its members, with Jackson as spokesman, +complained that Herrick was relying entirely too much on his supposition +that the bears would be anxious to enter the forest. Jackson pointed out +that, should they not care to do so, there was nothing to prevent them +from doubling back under the wagon; in which case the house party and +all of the United States lay before them. It was not until a lawn-tennis +net and much chicken wire was stretched in intricate thicknesses +across the lower half of the gate that Herrick was allowed to proceed. +Unassisted, he slid back the cage door, and without a moment's +hesitation Ikey leaped from the wagon through the gate and into the +preserve. For an instant, dazed by the sudden sunlight, he remained +motionless, and then, after sniffing delightedly at the air, stuck his +nose deep into the autumn leaves. Turning on his back, he luxuriously +and joyfully kicked his legs, and rolled from side to side. + +Herrick gave a shout of joy and triumph. "What did I tell you!" he +called. "See how he loves it! See how happy he is." + +"Not at all," protested Kelly. "He thought you gave him the sign to +'roll over.' Tell him to 'play dead,' and he'll do that." "Tell ALL +the bears to 'play dead,'" begged Jackson, "until I'm back in the +billiard-room." + +Flushed with happiness, Herrick tossed Ikey's cage out of the wagon, +and opened the door of the one that held Bruno and Clara. On their part, +there was a moment of doubt. As though suspecting a trap, they moved to +the edge of the cage, and gazed critically at the screen of trees and +tangled vines that rose before them. + +"They think it's a new backdrop," explained Kelly. + +But the delight with which Ikey was enjoying his bath in the autumn +leaves was not lost upon his parents. Slowly and clumsily they dropped +to the ground. As though they expected to be recalled, each turned to +look at the group of people who had now run to peer through the wire +meshes of the fence. But, as no one spoke and no one signalled, the +three bears, in single file, started toward the edge of the forest. They +had of cleared space to cover only a little distance, and at each step, +as though fearful they would be stopped and punished, one or the other +turned his head. But no one halted them. With quickening footsteps the +bears, now almost at a gallop, plunged forward. The next instant they +were lost to sight, and only the crackling of the underbrush told that +they had come into their own. + +Herrick dropped to the ground and locked himself inside the preserve. + +"I'm going after them," he called, "to see what they'll do." + +There was a frantic chorus of entreaties. + +"Don't be an ass!" begged Jackson. "They'll eat you." Herrick waved his +hand reassuringly. + +"They won't even see me," he explained. "I can find my way about this +place better than they can. And I'll keep to windward of them, and watch +them. Go to the house," he commanded. "I'll be with you in an hour, and +report." + +It was with real relief that, on assembling for dinner, the house party +found Herrick, in high spirits, with the usual number of limbs, and +awaiting them. The experiment had proved a great success. He told how, +unheeded by the bears, he had, without difficulty, followed in their +tracks. For an hour he had watched them. No happy school-children, let +loose at recess, could have embraced their freedom with more obvious +delight. They drank from the running streams, for honey they explored +the hollow tree-trunks, they sharpened their claws on moss-grown rocks, +and among the fallen oak leaves scratched violently for acorns. So +satisfied was Herrick with what he had seen, with the success of his +experiment, and so genuine and unselfish was he in the thought of the +happiness he had brought to the beasts of the forests, that for him no +dinner ever passed more pleasantly. Miss Waring, who sat next to her +host, thought she had seldom met a man with so kind and simple a nature. +She rather resented the fact, and she was inwardly indignant that so +much right feeling and affection could be wasted on farmyard fowls, and +four-footed animals. She felt sure that some nice girl, seated at the +other end of the table, smiling through the light of the wax candles +upon Herrick, would soon make him forget his love of "Nature and +Nature's children." She even saw herself there, and this may have made +her exhibit more interest in Herrick's experiment than she really felt. +In any event, Herrick found her most sympathetic' and when dinner was +over carried her off to a corner of the terrace. It was a warm night in +early October, and the great woods of the game preserve that stretched +below them were lit with a full moon. + +On his way to the lake for a moonlight row with one of the house party +who belonged to that sex that does not row, but looks well in the +moon-light, Kelly halted, and jeered mockingly. + +"How can you sit there," he demanded, "while those poor beasts are +freezing in a cave, with not even a silk coverlet or a pillow-sham. You +and your valet ought to be down there now carrying them pajamas." + +"Kelly," declared Herrick, unruffled in his moment of triumph, "I hate +to say, 'I told you so,' but you force me. Go away," he commanded. "You +have neither imagination nor soul." + +"And that's true," he assured Miss Waring, as Kelly and his companion +left them. "Now, I see nothing in what I accomplished that is +ridiculous. Had you watched those bears as I did, you would have felt +that sympathy that exists between all who love the out-of-door life. A +dog loves to see his master pick up his stick and his hat to take him +for a walk, and the man enjoys seeing the dog leaping and quartering +the fields before him. They are both the happier. At least I am happier +to-night, knowing those bears are at peace and at home, than I would +be if I thought of them being whipped through their tricks in a dirty +theatre." Herrick pointed to the great forest trees of the preserve, +their tops showing dimly in the mist of moonlight. "Somewhere, down in +that valley," he murmured, "are three happy animals. They are no longer +slaves and puppets--they are their own masters. For the rest of their +lives they can sleep on pine needles and dine on nuts and honey. No one +shall molest them, no one shall force them through degrading tricks. +Hereafter they can choose their life, and their own home among the +rocks, and the----" Herrick's words were frozen on his tongue. From the +other end of the terrace came a scream so fierce, so long, so full of +human suffering, that at the sound the blood of all that heard it turned +to water. It was so appalling that for an instant no one moved, and then +from every part of the house, along the garden walks, from the servants' +quarters, came the sound of pounding feet. Herrick, with Miss Waring +clutching at his sleeve, raced toward the other end of the terrace. They +had not far to go. Directly in front of them they saw what had dragged +from the very soul of the woman the scream of terror. + +The drawing-room opened upon the terrace, and, seated at the piano, +Jackson had been playing for those in the room to dance. The windows to +the terrace were open. The terrace itself was flooded with moonlight. +Seeking the fresh air, one of the dancers stepped from the drawing-room +to the flags outside. She had then raised the cry of terror and fallen +in a faint. What she had seen, Herrick a moment later also saw. On the +terrace in the moon-light, Bruno and Clara, on their hind legs, were +solemnly waltzing. Neither the scream nor the cessation of the music +disturbed them. Contentedly, proudly, they continued to revolve in hops +and leaps. From their happy expression, it was evident they not only +were enjoying themselves, but that they felt they were greatly affording +immeasurable delight to others. Sick at heart, furious, bitterly hurt, +with roars of mocking laughter in his ears, Herrick ran toward the +stables for help. At the farther end of the terrace the butler had +placed a tray of liqueurs, whiskeys, and soda bottles. His back had been +turned for only a few moments, but the time had sufficed. + +Lolling with his legs out, stretched in a wicker chair, Herrick beheld +the form of Ikey. Between his uplifted paws he held aloof the base of +a decanter; between his teeth, and well jammed down his throat, was the +long neck of the bottle. From it issued the sound of gentle gurgling. +Herrick seized the decanter and hurled it crashing upon the terrace. +With difficulty Ikey rose. Swaying and shaking his head reproachfully, +he gave Herrick a perfectly accurate imitation of an intoxicated bear. + + + + + +End of Project Gutenberg's The Nature Faker, by Richard Harding Davis + +*** END OF THIS PROJECT GUTENBERG EBOOK THE NATURE FAKER *** + +***** This file should be named 1763.txt or 1763.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/7/6/1763/ + +Produced by Aaron Cannon + +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 +http://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 http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is 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: + + http://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/1763.zip b/1763.zip Binary files differnew file mode 100644 index 0000000..d6b6d1b --- /dev/null +++ b/1763.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..70f3ff0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #1763 (https://www.gutenberg.org/ebooks/1763) diff --git a/old/ntrfk10.txt b/old/ntrfk10.txt new file mode 100644 index 0000000..7fd35c0 --- /dev/null +++ b/old/ntrfk10.txt @@ -0,0 +1,899 @@ +The Project Gutenberg Etext of The Nature Faker, by R. H. Davis +#16 in our series by Richard Harding Davis + + +Copyright laws are changing all over the world, be sure to check +the copyright laws for your country before posting these files!! + +Please take a look at the important information in this header. +We encourage you to keep this file on your own disk, keeping an +electronic path open for the next readers. Do not remove this. + + +**Welcome To The World of Free Plain Vanilla Electronic Texts** + +**Etexts Readable By Both Humans and By Computers, Since 1971** + +*These Etexts Prepared By Hundreds of Volunteers and Donations* + +Information on contacting Project Gutenberg to get Etexts, and +further information is included below. We need your donations. + + +The Nature Faker + +by Richard Harding Davis + +May, 1999 [Etext #1763] + + +The Project Gutenberg Etext of The Nature Faker, by R. H. Davis +******This file should be named ntrfk10.txt or ntrfk10.zip****** + +Corrected EDITIONS of our etexts get a new NUMBER, ntrfk11.txt +VERSIONS based on separate sources get new LETTER, ntrfk10a.txt + +Etext scanned by Aaron Cannon of Paradise, California + +Project Gutenberg Etexts are usually created from multiple editions, +all of which are in the Public Domain in the United States, unless a +copyright notice is included. Therefore, we usually do NOT keep any +of these books in compliance with any particular paper edition. + + +We are now trying to release all our books one month in advance +of the official release dates, leaving time for better editing. + +Please note: neither this list nor its contents are final till +midnight of the last day of the month of any such announcement. +The official release date of all Project Gutenberg Etexts is at +Midnight, Central Time, of the last day of the stated month. A +preliminary version may often be posted for suggestion, comment +and editing by those who wish to do so. To be sure you have an +up to date first edition [xxxxx10x.xxx] please check file sizes +in the first week of the next month. Since our ftp program has +a bug in it that scrambles the date [tried to fix and failed] a +look at the file size will have to do, but we will try to see a +new copy has at least one byte more or less. + + +Information about Project Gutenberg (one page) + +We produce about two million dollars for each hour we work. The +time it takes us, a rather conservative estimate, is fifty hours +to get any etext selected, entered, proofread, edited, copyright +searched and analyzed, the copyright letters written, etc. This +projected audience is one hundred million readers. If our value +per text is nominally estimated at one dollar then we produce $2 +million dollars per hour this year as we release thirty-six text +files per month, or 432 more Etexts in 1999 for a total of 2000+ +If these reach just 10% of the computerized population, then the +total should reach over 200 billion Etexts given away this year. + +The Goal of Project Gutenberg is to Give Away One Trillion Etext +Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion] +This is ten thousand titles each to one hundred million readers, +which is only ~5% of the present number of computer users. + +At our revised rates of production, we will reach only one-third +of that goal by the end of 2001, or about 3,333 Etexts unless we +manage to get some real funding; currently our funding is mostly +from Michael Hart's salary at Carnegie-Mellon University, and an +assortment of sporadic gifts; this salary is only good for a few +more years, so we are looking for something to replace it, as we +don't want Project Gutenberg to be so dependent on one person. + +We need your donations more than ever! + + +All donations should be made to "Project Gutenberg/CMU": and are +tax deductible to the extent allowable by law. (CMU = Carnegie- +Mellon University). + +For these and other matters, please mail to: + +Project Gutenberg +P. O. Box 2782 +Champaign, IL 61825 + +When all other email fails. . .try our Executive Director: +Michael S. Hart <hart@pobox.com> +hart@pobox.com forwards to hart@prairienet.org and archive.org +if your mail bounces from archive.org, I will still see it, if +it bounces from prairienet.org, better resend later on. . . . + +We would prefer to send you this information by email. + +****** + +To access Project Gutenberg etexts, use any Web browser +to view http://promo.net/pg. This site lists Etexts by +author and by title, and includes information about how +to get involved with Project Gutenberg. You could also +download our past Newsletters, or subscribe here. This +is one of our major sites, please email hart@pobox.com, +for a more complete list of our various sites. + +To go directly to the etext collections, use FTP or any +Web browser to visit a Project Gutenberg mirror (mirror +sites are available on 7 continents; mirrors are listed +at http://promo.net/pg). + +Mac users, do NOT point and click, typing works better. + +Example FTP session: + +ftp sunsite.unc.edu +login: anonymous +password: your@login +cd pub/docs/books/gutenberg +cd etext90 through etext99 +dir [to see files] +get or mget [to get files. . .set bin for zip files] +GET GUTINDEX.?? [to get a year's listing of books, e.g., GUTINDEX.99] +GET GUTINDEX.ALL [to get a listing of ALL books] + +*** + +**Information prepared by the Project Gutenberg legal advisor** + +(Three Pages) + + +***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** +Why is this "Small Print!" statement here? You know: lawyers. +They tell us you might sue us if there is something wrong with +your copy of this etext, even if you got it for free from +someone other than us, and even if what's wrong is not our +fault. So, among other things, this "Small Print!" statement +disclaims most of our liability to you. It also tells you how +you can distribute copies of this etext if you want to. + +*BEFORE!* YOU USE OR READ THIS ETEXT +By using or reading any part of this PROJECT GUTENBERG-tm +etext, you indicate that you understand, agree to and accept +this "Small Print!" statement. If you do not, you can receive +a refund of the money (if any) you paid for this etext by +sending a request within 30 days of receiving it to the person +you got it from. If you received this etext on a physical +medium (such as a disk), you must return it with your request. + +ABOUT PROJECT GUTENBERG-TM ETEXTS +This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG- +tm etexts, is a "public domain" work distributed by Professor +Michael S. Hart through the Project Gutenberg Association at +Carnegie-Mellon University (the "Project"). Among other +things, this means that no one owns a United States copyright +on or for this work, so the Project (and you!) can copy and +distribute it in the United States without permission and +without paying copyright royalties. Special rules, set forth +below, apply if you wish to copy and distribute this etext +under the Project's "PROJECT GUTENBERG" trademark. + +To create these etexts, the Project expends considerable +efforts to identify, transcribe and proofread public domain +works. Despite these efforts, the Project's etexts and any +medium they may be on may contain "Defects". Among other +things, Defects may take the form of incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other +intellectual property infringement, a defective or damaged +disk or other etext medium, a computer virus, or computer +codes that damage or cannot be read by your equipment. + +LIMITED WARRANTY; DISCLAIMER OF DAMAGES +But for the "Right of Replacement or Refund" described below, +[1] the Project (and any other party you may receive this +etext from as a PROJECT GUTENBERG-tm etext) disclaims all +liability to you for damages, costs and expenses, including +legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR +UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, +INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE +OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE +POSSIBILITY OF SUCH DAMAGES. + +If you discover a Defect in this etext within 90 days of +receiving it, you can receive a refund of the money (if any) +you paid for it by sending an explanatory note within that +time to the person you received it from. If you received it +on a physical medium, you must return it with your note, and +such person may choose to alternatively give you a replacement +copy. If you received it electronically, such person may +choose to alternatively give you a second opportunity to +receive it electronically. + +THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS +TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT +LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A +PARTICULAR PURPOSE. + +Some states do not allow disclaimers of implied warranties or +the exclusion or limitation of consequential damages, so the +above disclaimers and exclusions may not apply to you, and you +may have other legal rights. + +INDEMNITY +You will indemnify and hold the Project, its directors, +officers, members and agents harmless from all liability, cost +and expense, including legal fees, that arise directly or +indirectly from any of the following that you do or cause: +[1] distribution of this etext, [2] alteration, modification, +or addition to the etext, or [3] any Defect. + +DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" +You may distribute copies of this etext electronically, or by +disk, book or any other medium if you either delete this +"Small Print!" and all other references to Project Gutenberg, +or: + +[1] Only give exact copies of it. Among other things, this + requires that you do not remove, alter or modify the + etext or this "small print!" statement. You may however, + if you wish, distribute this etext in machine readable + binary, compressed, mark-up, or proprietary form, + including any form resulting from conversion by word pro- + cessing or hypertext software, but only so long as + *EITHER*: + + [*] The etext, when displayed, is clearly readable, and + does *not* contain characters other than those + intended by the author of the work, although tilde + (~), asterisk (*) and underline (_) characters may + be used to convey punctuation intended by the + author, and additional characters may be used to + indicate hypertext links; OR + + [*] The etext may be readily converted by the reader at + no expense into plain ASCII, EBCDIC or equivalent + form by the program that displays the etext (as is + the case, for instance, with most word processors); + OR + + [*] You provide, or agree to also provide on request at + no additional cost, fee or expense, a copy of the + etext in its original plain ASCII form (or in EBCDIC + or other equivalent proprietary form). + +[2] Honor the etext refund and replacement provisions of this + "Small Print!" statement. + +[3] Pay a trademark license fee to the Project of 20% of the + net profits you derive calculated using the method you + already use to calculate your applicable taxes. If you + don't derive profits, no royalty is due. Royalties are + payable to "Project Gutenberg Association/Carnegie-Mellon + University" within the 60 days following each + date you prepare (or were legally required to prepare) + your annual (or equivalent periodic) tax return. + +WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? +The Project gratefully accepts contributions in money, time, +scanning machines, OCR software, public domain etexts, royalty +free copyright licenses, and every other sort of contribution +you can think of. Money should be paid to "Project Gutenberg +Association / Carnegie-Mellon University". + +*END*THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.04.29.93*END* + + + + + +Etext scanned by Aaron Cannon of Paradise, California + + + + + +The Nature Faker + +by Richard Harding Davis + + + +Richard Herrick was a young man with a gentle disposition, much +money, and no sense of humor. His object in life was to marry Miss +Catherweight. For three years she had tried to persuade him this +could not be, and finally, in order to convince him, married some +one else. When the woman he loves marries another man, the rejected +one is popularly supposed to take to drink or to foreign travel. +Statistics show that, instead, he instantly falls in love with the +best friend of the girl who refused him. But, as Herrick truly +loved Miss Catherweight, he could not worship any other woman, and +so he became a lover of nature. Nature, he assured his men friends, +does not disappoint you. The more thought, care, affection you give +to nature, the more she gives you in return, and while, so he +admitted, in wooing nature there are no great moments, there are no +heart-aches. Jackson, one of the men friends, and of a frivolous +disposition, said that he also could admire a landscape, but he +would rather look at the beautiful eyes of a girl he knew than at +the Lakes of Killarney, with a full moon, a setting sun, and the +aurora borealis for a background. Herrick suggested that, while the +beautiful eyes might seek those of another man, the Lakes of +Killarney would always remain where you could find them. Herrick +pursued his new love in Connecticut on an abandoned farm which he +converted into a "model" one. On it he established model dairies +and model incubators. He laid out old-fashioned gardens, sunken +gardens, Italian gardens, landscape gardens, and a game preserve. + +The game preserve was his own especial care and pleasure. It +consisted of two hundred acres of dense forest and hills and +ridges +of rock. It was filled with mysterious caves, deep chasms, tiny +gurgling streams, nestling springs, and wild laurel. It was +barricaded with fallen tree-trunks and moss- covered rocks that +had +never felt the foot of man since that foot had worn a moccasin. +Around the preserve was a high fence stout enough to keep +poachers +on the outside and to persuade the wild animals that inhabited it +to linger on the inside. These wild animals were squirrels, +rabbits, and raccoons. Every day, in sunshine or in rain, +entering +through a private gate, Herrick would explore this holy of +holies. +For such vermin as would destroy the gentler animals he carried a +gun. But it was turned only on those that preyed upon his +favorites. For hours he would climb through this wilderness, or, +seated on a rock, watch a bluebird building her nest or a +squirrel +laying in rations against the coming of the snow. In time he grew +to think he knew and understood the inhabitants of this wild +place +of which he was the overlord. He looked upon them not as his +tenants but as his guests. And when they fled from him in terror +to +caves and hollow tree-trunks, he wished he might call them back +and +explain he was their friend, that it was due to him they lived in +peace. He was glad they were happy. He was glad it was through +him +that, undisturbed, they could live the simple life. + +His fall came through ambition. Herrick himself attributed it to +his too great devotion to nature and nature's children. Jackson, +he +of the frivolous mind, attributed it to the fact that any man is +sure to come to grief who turns from the worship of God's noblest +handiwork, by which Jackson meant woman, to worship chipmunks and +Plymouth Rock hens. One night Jackson lured Herrick into New York +to a dinner and a music hall. He invited also one Kelly, a mutual +friend of a cynical and combative disposition. Jackson liked to +hear him and Herrick abuse each other, and always introduced +subjects he knew would cause each to lose his temper. + +But, on this night, Herrick needed no goading. He was in an +ungrateful mood. Accustomed to food fresh from the soil and the +farmyard, he sneered at hothouse asparagus, hothouse grapes, and +cold-storage quail. At the music hall he was even more difficult. +In front of him sat a stout lady who when she shook with laughter +shed patchouli and a man who smoked American cigarettes. At these +and the steam heat, the nostrils of Herrick, trained to the odor +of +balsam and the smoke of open wood fires, took offense. He refused +to be amused. The monologue artist, in whom Jackson found +delight, +caused Herrick only to groan; the knockabout comedians he hoped +would break their collar-bones; the lady who danced Salome, and +who +fascinated Kelly, Herrick prayed would catch pneumonia and die of +it. And when the drop rose upon the Countess Zichy's bears, his +dissatisfaction reached a climax. + +There were three bears--a large papa bear, a mamma bear, and the +baby bear. On the programme they were described as Bruno, Clara, +and Ikey. They were of a dusty brown, with long, curling noses +tipped with white, and fat, tan-colored bellies. When father +Bruno, +on his hind legs and bare feet, waddled down the stage, he +resembled a Hebrew gentleman in a brown bathing suit who had lost +his waist-line. As he tripped doubtfully forward, with mincing +steps, he continually and mournfully wagged his head. He seemed +to +be saying: "This water is much too cold for me." The mamma bear +was +dressed in a poke bonnet and white apron, and resembled the wolf +who frightened Little Red Riding-Hood, and Ikey, the baby bear, +wore rakishly over one eye the pointed cap of a clown. To those +who +knew their vaudeville, this was indisputable evidence that Ikey +would furnish the comic relief. Nor did Ikey disappoint them. He +was a wayward son. When his parents were laboriously engaged in a +boxing-match, or dancing to the "Merry Widow Waltz," or balancing +on step-ladders, Ikey, on all fours, would scamper to the +foot-lights and, leaning over, make a swift grab at the head of +the +first trombone. And when the Countess Zichy, apprised by the +shouts +of the audience of Ikey's misconduct, waved a toy whip, Ikey +would +gallop back to his pedestal and howl at her. To every one, except +Herrick and the first trombone, this playfulness on the part of +Ikey furnished great delight. + +The performances of the bears ended with Bruno and Clara dancing +heavily to the refrain of the "Merry Widow Waltz," while Ikey +pretended to conduct the music of the orchestra. On the final +call, +Madame Zichy threw to each of the animals a beer bottle filled +with +milk; and the gusto with which the savage-looking beasts uncorked +the bottles and drank from them greatly amused the audience. +Ikey, +standing on his hind legs, his head thrown back, with both paws +clasping the base of the bottle, shoved the neck far down his +throat, and then, hurling it from him, and cocking his clown's +hat +over his eyes, gave a masterful imitation of a very intoxicated +bear. + +"That," exclaimed Herrick hotly, "is a degrading spectacle. It +degrades the bear and degrades me and you." + +"No, it bores me," said Kelly. + +"If you understood nature," retorted Herrick, "and nature's +children, it would infuriate you." + +"I don't go to a music hall to get infuriated," said Kelly. + +"Trained dogs I don't mind," exclaimed Herrick. "Dogs are not +wild +animals. The things they're trained to do are of USE. They can +guard the house, or herd sheep. But a bear is a wild beast. +Always +will be a wild beast. You can't train him to be of use. It's +degrading to make him ride a bicycle. I hate it! If I'd known +there +were to be performing bears to-night, I wouldn't have come!" + +"And if I'd known you were to be here to-night, I wouldn't have +come!" said Kelly. "Where do we go to next?" + +They went next to a restaurant in a gayly decorated cellar. Into +this young men like themselves and beautiful ladies were so +anxious +to hurl themselves that to restrain them a rope was swung across +the entrance and page boys stood on guard. When a young man +became +too anxious to spend his money, the page boys pushed in his shirt +front. After they had fought their way to a table, Herrick +ungraciously remarked he would prefer to sup in a subway station. +The people, he pointed out, would be more human, the decorations +were much of the same Turkish-bath school of art, and the air was +no worse. + +"Cheer up, Clarence!" begged Jackson, "you'll soon be dead. +To-morrow you'll be back among your tree-toads and sunsets. And, +let us hope," he sighed, "no one will try to stop you!" + +"What worries me is this," explained Herrick. "I can't help +thinking that, if one night of this artificial life is so hard +upon +me, what must it be to those bears!" + +Kelly exclaimed, with exasperation: "Confound the bears!" he +cried. +"If you must spoil my supper weeping over animals, weep over +cart-horses. They work. Those bears are loafers. They're as well +fed as pet canaries. They're aristocrats." + +"But it's not a free life!" protested Herrick. "It's not the life +they love." + +"It's a darned sight better," declared Kelly, than sleeping in a +damp wood, eating raw blackberries----" + +"The more you say," retorted Herrick, "the more you show you know +nothing whatsoever of nature's children and their habits." + +"And all you know of them," returned Kelly, is that a cat has +nine +lives, and a barking dog won't bite. You're a nature faker." +Herrick refused to be diverted. + +"It hurt me," he said. "They were so big, and good-natured, and +helpless. I'll bet that woman beats them! I kept thinking of them +as they were in the woods, tramping over the clean pine needles, +eating nuts, and--and honey, and----" + +"Buns!" suggested Jackson. + +"I can't forget them," said Herrick. "It's going to haunt me, +to-morrow, when I'm back in the woods; I'll think of those poor +beasts capering in a hot theatre, when they ought to be out in +the +open as God meant they----" + +"Well, then," protested Kelly, "take 'em to the open. And turn +'em +loose! And I hope they bite YOU!" + +At this Herrick frowned so deeply that Kelly feared he had gone +too +far. Inwardly, he reproved himself for not remembering that his +friend lacked a sense of humor. But Herrick undeceived him. + +"You are right!" he exclaimed. "To-morrow I will buy those bears, +take them to the farm, and turn them loose!" + +No objections his friend could offer could divert him from his +purpose. When they urged that to spend so much money in such a +manner was criminally wasteful, he pointed out that he was +sufficiently rich to indulge any extravagant fancy, whether in +polo +ponies or bears; when they warned him that if he did not look out +the bears would catch him alone in the woods, and eat him, he +retorted that the bears were now educated to a different diet; +when +they said he should consider the peace of mind of his neighbors, +he +assured them the fence around his game preserve would restrain an +elephant. + +"Besides," protested Kelly, "what you propose to do is not only +impracticable, but it's cruelty to animals. A domesticated animal +can't return to a state of nature, and live." + +"Can't it?" jeered Herrick. "Did you ever read 'The Call of the +Wild'?" + +"Did you ever read," retorted Kelly, "what happened at the siege +of +Ladysmith when the oats ran low and they drove the artillery +horses +out to grass? They starved, that's all. And if you don't feed +your +bears on milk out of a bottle they'll starve too." + +"That's what will happen," cried Jackson; those bears have +forgotten what a pine forest smells like. Maybe it's a pity, but +it's the fact. I'll bet if you could ask them whether they'd +rather +sleep in a cave on your farm or be headliners in vaudeville, +they'd +tell you they were 'devoted to their art.'" + +"Why!" exclaimed Kelly, "they're so far from nature that if they +didn't have that colored boy to comb and brush them twice a day +they'd be ashamed to look each other in the eyes." + +"And another thing," continued Jackson, "trained animals love to +'show off.' They're children. Those bears ENJOY doing those +tricks. +They ENJOY the applause. They enjoy dancing to the 'Merry Widow +Waltz.' And if you lock them up in your jungle, they'll get so +homesick that they'll give a performance twice a day to the +squirrels and woodpeckers." + +"It's just as hard to unlearn a thing as to learn it," said Kelly +sententiously. "You can't make a man who has learned to wear +shoes +enjoy going around in his bare feet." + +"Rot!" cried Herrick. "Look at me. Didn't I love New York? I +loved +it so I never went to bed for fear I'd miss something. But when I +went 'Back to the Land,' did it take me long to fall in love with +the forests and the green fields? It took me a week. I go to bed +now the same day I get up, and I've passed on my high hat and +frock +coat to a scarecrow. And I'll bet you when those bears once scent +the wild woods they'll stampede for them like Croker going to a +third alarm." + +"And I repeat," cried Kelly, "you are a nature faker. And I'll +leave it to the bears to prove it." + +"We have done our best," sighed Jackson. "We have tried to save +him +money and trouble. And now all he can do for us in return is to +give us seats for the opening performance." + +What the bears cost Herrick he never told. But it was a very +large +sum. As the Countess Zichy pointed out, bears as bears, in a +state +of nature, are cheap. If it were just a bear he wanted, he +himself +could go to Pike County, Pennsylvania, and trap one. What he was +paying for, she explained, was the time she had spent in +educating +the Bruno family, and added to that the time during which she +must +now remain idle while she educated another family. + +Herrick knew for what he was paying. It was the pleasure of +rescuing unwilling slaves from bondage. As to their expensive +education, if they returned to a state of ignorance as rapidly as +did most college graduates he knew, he would be satisfied. Two +days +later, when her engagement at the music hall closed, Madame Zichy +reluctantly turned over her pets to their new manager. With Ikey +she was especially loath to part. + +"I'll never get one like him," she walled Ikey is the funniest +four-legged clown in America. He's a natural-born comedian. Folks +think I learn him those tricks, but it's all his own stuff. Only +last week we was playing Paoli's in Bridgeport, and when I was +putting Bruno through the hoops, Ikey runs to the stage-box and +grabs a pound of caramels out of a girl's lap-and swallows the +box. +And in St. Paul, if the trombone hadn't worn a wig, Ikey would +have +scalped him. Say, it was a scream! When the audience see the +trombone snatched bald-headed, and him trying to get back his +wig, +and Ikey chewing it, they went crazy. You can't learn a bear +tricks +like that. It's just genius. Some folks think I taught him to act +like he was intoxicated, but he picked that up, too, all by +himself, through watching my husband. And Ikey's very fond of +beer +on his own account. If I don't stop them, the stage hands would +be +always slipping him drinks. I hope you won't give him none." + +"I will not!" said Herrick. + +The bears, Ikey in one cage and Bruno and Clara in another, +travelled by express to the station nearest the Herrick estate. +There they were transferred to a farm wagon, and grumbling and +growling, and with Ikey howling like an unspanked child, they +were +conveyed to the game preserve. At the only gate that entered it, +Kelly and Jackson and a specially invited house party of youths +and +maidens were gathered to receive them. At a greater distance +stood +all of the servants and farm hands, and as the wagon backed +against +the gate, with the door of Ikey's cage opening against it, the +entire audience, with one accord, moved solidly to the rear. +Herrick, with a pleased but somewhat nervous smile, mounted the +wagon. But before he could unlock the cage Kelly demanded to be +heard. He insisted that, following the custom of all great +artists, +the bears should give a farewell performance." + +He begged that Bruno and Clara might be permitted to dance +together. He pointed out that this would be the last time they +could listen to the strains of the "Merry Widow Waltz." He called +upon everybody present to whistle it. + +The suggestion of an open-air performance was received coldly. At +the moment no one seemed able to pucker his lips into a whistle, +and some even explained that with that famous waltz they were +unfamiliar. + +One girl attained an instant popularity by pointing out that the +bears could waltz just as well on one side of the fence as the +other. Kelly, cheated of his free performance, then begged that +before Herrick condemned the bears to starve on acorns, he should +give them a farewell drink, and Herrick, who was slightly +rattled, +replied excitedly that he had not ransomed the animals only to +degrade them. The argument was interrupted by the French chef +falling out of a tree. He had climbed it, he explained, in order +to +obtain a better view. + +When, in turn, it was explained to him that a bear also could +climb +a tree, he remembered he had left his oven door open. His +departure +reminded other servants of duties they had neglected, and one of +the guests, also, on remembering he had put in a long-distance +call, hastened to the house. Jackson suggested that perhaps they +had better all return with him, as the presence of so many people +might frighten the bears. At the moment he spoke, Ikey emitted a +hideous howl, whether of joy or rage no one knew, and few +remained +to find out. It was not until Herrick had investigated and +reported +that Ikey was still behind the bars that the house party +cautiously +returned. The house party then filed a vigorous protest. Its +members, with Jackson as spokesman, complained that Herrick was +relying entirely too much on his supposition that the bears would +be anxious to enter the forest. Jackson pointed out that, should +they not care to do so, there was nothing to prevent them from +doubling back under the wagon; in which case the house party and +all of the United States lay before them. It was not until a +lawn-tennis net and much chicken wire was stretched in intricate +thicknesses across the lower half of the gate that Herrick was +allowed to proceed. Unassisted, he slid back the cage door, and +without a moment's hesitation Ikey leaped from the wagon through +the gate and into the preserve. For an instant, dazed by the +sudden +sunlight, he remained motionless, and then, after sniffing +delightedly at the air, stuck his nose deep into the autumn +leaves. +Turning on his back, he luxuriously and joyfully kicked his legs, +and rolled from side to side. + +Herrick gave a shout of joy and triumph. "What did I tell you!" +he +called. "See how he loves it! See how happy he is." + +"Not at all," protested Kelly. "He thought you gave him the sign +to +'roll over.' Tell him to 'play dead,' and he'll do that." " Tell +ALL the bears to 'play dead,'" begged Jackson, "until I'm back in +the billiard-room." + +Flushed with happiness, Herrick tossed Ikey's cage out of the +wagon, and opened the door of the one that held Bruno and Clara. +On +their part, there was a moment of doubt. As though suspecting a +trap, they moved to the edge of the cage, and gazed critically at +the screen of trees and tangled vines that rose before them. + +"They think it's a new backdrop," explained Kelly. + +But the delight with which Ikey was enjoying his bath in the +autumn +leaves was not lost upon his parents. Slowly and clumsily they +dropped to the ground. As though they expected to be recalled, +each +turned to look at the group of people who had now run to peer +through the wire meshes of the fence. But, as no one spoke and no +one signalled, the three bears, in single file, started toward +the +edge of the forest. They had of cleared space to cover only a +little distance, and at each step, as though fearful they would +be +stopped and punished, one or the other turned his head. But no +one +halted them. With quickening footsteps the bears, now almost at a +gallop, plunged forward. The next instant they were lost to +sight, +and only the crackling of the underbrush told that they had come +into their own. + +Herrick dropped to the ground and locked himself inside the +preserve. + +"I'm going after them," he called, "to see what they'll do." + +There was a frantic chorus of entreaties. + +"Don't be an ass!" begged Jackson. "They'll eat you." Herrick +waved +his hand reassuringly. + +"They won't even see me," he explained. "I can find my way about +this place better than they can. And I'll keep to windward of +them, +and watch them. Go to the house," he commanded. "I'll be with you +in an hour, and report." + +It was with real relief that, on assembling for dinner, the house +party found Herrick, in high spirits, with the usual number of +limbs, and awaiting them. The experiment had proved a great +success. He told how, unheeded by the bears, he had, without +difficulty, followed in their tracks. For an hour he had watched +them. No happy school-children, let loose at recess, could have +embraced their freedom with more obvious delight. They drank from +the running streams, for honey they explored the hollow +tree-trunks, they sharpened their claws on moss-grown rocks, and +among the fallen oak leaves scratched violently for acorns. So +satisfied was Herrick with what he had seen, with the success of +his experiment, and so genuine and unselfish was he in the +thought +of the happiness he had brought to the beasts of the forests, +that +for him no dinner ever passed more pleasantly. Miss Waring, who +sat +next to her host, thought she had seldom met a man with so kind +and +simple a nature. She rather resented the fact, and she was +inwardly +indignant that so much right feeling and affection could be +wasted +on farmyard fowls, and four-footed animals. She felt sure that +some +nice girl, seated at the other end of the table, smiling through +the light of the wax candles upon Herrick, would soon make him +forget his love of "Nature and Nature's children." She even saw +herself there, and this may have made her exhibit more interest +in +Herrick's experiment than she really felt. In any event, Herrick +found her most sympathetic' and when dinner was over carried her +off to a corner of the terrace. It was a warm night in early +October, and the great woods of the game preserve that stretched +below them were lit with a full moon. + +On his way to the lake for a moonlight row with one of the house +party who belonged to that sex that does not row, but looks well +in +the moon-light, Kelly halted, and jeered mockingly. + +"How can you sit there," he demanded, "while those poor beasts +are +freezing in a cave, with not even a silk coverlet or a +pillow-sham. +You and your valet ought to be down there now carrying them +pajamas." + +"Kelly," declared Herrick, unruffled in his moment of triumph, "I +hate to say, 'I told you so,' but you force me. Go away," he +commanded. "You have neither imagination nor soul." + +"And that's true," he assured Miss Waring, as Kelly and his +companion left them. "Now, I see nothing in what I accomplished +that is ridiculous. Had you watched those bears as I did, you +would +have felt that sympathy that exists between all who love the +out-of-door life. A dog loves to see his master pick up his stick +and his hat to take him for a walk, and the man enjoys seeing the +dog leaping and quartering the fields before him. They are both +the +happier. At least I am happier to-night, knowing those bears are +at +peace and at home, than I would be if I thought of them being +whipped through their tricks in a dirty theatre." Herrick pointed +to the great forest trees of the preserve, their tops showing +dimly +in the mist of moonlight. "Somewhere, down in that valley, he +murmured, "are three happy animals. They are no longer slaves and +puppets--they are their own masters. For the rest of their lives +they can sleep on pine needles and dine on nuts and honey. No one +shall molest them, no one shall force them through degrading +tricks. Hereafter they can choose their life, and their own home +among the rocks, and the ----" Herrick's words were frozen on his +tongue. From the other end of the terrace came a scream so +fierce, +so long, so full of human suffering, that at the sound the blood +of +all that heard it turned to water. It was so appalling that for +an +instant no one moved, and then from every part of the house, +along +the garden walks, from the servants' quarters, came the sound of +pounding feet. Herrick, with Miss Waring clutching at his sleeve, +raced toward the other end of the terrace. They had not far to +go. +Directly in front of them they saw what had dragged from the very +soul of the woman the scream of terror. + +The drawing-room opened upon the terrace, and, seated at the +piano, +Jackson had been playing for those in the room to dance. The +windows to the terrace were open. The terrace itself was flooded +with moonlight. Seeking the fresh air, one of the dancers stepped +from the drawing-room to the flags outside. She had then raised +the +cry of terror and fallen in a faint. What she had seen, Herrick a +moment later also saw. On the terrace in the moon-light, Bruno +and +Clara, on their hind legs, were solemnly waltzing. Neither the +scream nor the cessation of the music disturbed them. +Contentedly, +proudly, they continued to revolve in hops and leaps. From their +happy expression, it was evident they not only were enjoying +themselves, but that they felt they were greatly affording +immeasurable delight to others. Sick at heart, furious, bitterly +hurt, with roars of mocking laughter in his ears, Herrick ran +toward the stables for help. At the farther end of the terrace +the +butler had placed a tray of liqueurs, whiskeys, and soda bottles. +His back had been turned for only a few moments, but the time had +sufficed. + +Lolling with his legs out, stretched in a wicker chair, Herrick +beheld the form of Ikey. Between his uplifted paws he held aloof +the base of a decanter; between his teeth, and well jammed down +his +throat, was the long neck of the bottle. From it issued the sound +of gentle gurgling. Herrick seized the decanter and hurled it +crashing upon the terrace. With difficulty Ikey rose. Swaying and +shaking his head reproachfully, he gave Herrick a perfectly +accurate imitation of an intoxicated bear. + + + + + +End of The Project Gutenberg Etext of The Nature Faker, by R. H. Davis + diff --git a/old/ntrfk10.zip b/old/ntrfk10.zip Binary files differnew file mode 100644 index 0000000..ee908d7 --- /dev/null +++ b/old/ntrfk10.zip |