diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:17:21 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:17:21 -0700 |
| commit | 5a576ff04906ceaa7c598ec95130824be56c2533 (patch) | |
| tree | d9b45af09e6d871e023d9c9a4ce2021c48d4d90a | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 24576-page-images/c0001.jpg | bin | 0 -> 212560 bytes | |||
| -rw-r--r-- | 24576-page-images/c0002.jpg | bin | 0 -> 87543 bytes | |||
| -rw-r--r-- | 24576-page-images/f0001.jpg | bin | 0 -> 147619 bytes | |||
| -rw-r--r-- | 24576-page-images/f0002.jpg | bin | 0 -> 246003 bytes | |||
| -rw-r--r-- | 24576-page-images/f0003.jpg | bin | 0 -> 178598 bytes | |||
| -rw-r--r-- | 24576-page-images/p0001-image.jpg | bin | 0 -> 207936 bytes | |||
| -rw-r--r-- | 24576-page-images/p0001.png | bin | 0 -> 35663 bytes | |||
| -rw-r--r-- | 24576-page-images/p0002.png | bin | 0 -> 29409 bytes | |||
| -rw-r--r-- | 24576-page-images/p0003.jpg | bin | 0 -> 490778 bytes | |||
| -rw-r--r-- | 24576-page-images/p0004.png | bin | 0 -> 27319 bytes | |||
| -rw-r--r-- | 24576-page-images/p0005.jpg | bin | 0 -> 433532 bytes | |||
| -rw-r--r-- | 24576-page-images/p0006.jpg | bin | 0 -> 434068 bytes | |||
| -rw-r--r-- | 24576-page-images/p0007.png | bin | 0 -> 29275 bytes | |||
| -rw-r--r-- | 24576-page-images/p0008.png | bin | 0 -> 27404 bytes | |||
| -rw-r--r-- | 24576-page-images/p0009.jpg | bin | 0 -> 424902 bytes | |||
| -rw-r--r-- | 24576-page-images/p0010-image.jpg | bin | 0 -> 155630 bytes | |||
| -rw-r--r-- | 24576-page-images/p0010.png | bin | 0 -> 27508 bytes | |||
| -rw-r--r-- | 24576-page-images/p0011.png | bin | 0 -> 28038 bytes | |||
| -rw-r--r-- | 24576-page-images/p0012.png | bin | 0 -> 31357 bytes | |||
| -rw-r--r-- | 24576-page-images/p0013.jpg | bin | 0 -> 444983 bytes | |||
| -rw-r--r-- | 24576-page-images/p0014.png | bin | 0 -> 29872 bytes | |||
| -rw-r--r-- | 24576-page-images/p0015.png | bin | 0 -> 32348 bytes | |||
| -rw-r--r-- | 24576-page-images/p0016-image.jpg | bin | 0 -> 174629 bytes | |||
| -rw-r--r-- | 24576-page-images/p0016.png | bin | 0 -> 28150 bytes | |||
| -rw-r--r-- | 24576-page-images/p0017.jpg | bin | 0 -> 420947 bytes | |||
| -rw-r--r-- | 24576-page-images/p0018.jpg | bin | 0 -> 392957 bytes | |||
| -rw-r--r-- | 24576-page-images/p0019.png | bin | 0 -> 28615 bytes | |||
| -rw-r--r-- | 24576-page-images/p0020-image.jpg | bin | 0 -> 131509 bytes | |||
| -rw-r--r-- | 24576-page-images/p0020.png | bin | 0 -> 29212 bytes | |||
| -rw-r--r-- | 24576-page-images/p0021-image.jpg | bin | 0 -> 170610 bytes | |||
| -rw-r--r-- | 24576-page-images/p0021.png | bin | 0 -> 33905 bytes | |||
| -rw-r--r-- | 24576-page-images/p0022.jpg | bin | 0 -> 455949 bytes | |||
| -rw-r--r-- | 24576-page-images/p0023.png | bin | 0 -> 27709 bytes | |||
| -rw-r--r-- | 24576-page-images/p0024.png | bin | 0 -> 29763 bytes | |||
| -rw-r--r-- | 24576-page-images/p0025.jpg | bin | 0 -> 439315 bytes | |||
| -rw-r--r-- | 25476-h.zip | bin | 0 -> 624643 bytes | |||
| -rw-r--r-- | 25476-h/25476-h.htm | 1106 | ||||
| -rw-r--r-- | 25476-h/images/centrefold.jpg | bin | 0 -> 82593 bytes | |||
| -rw-r--r-- | 25476-h/images/frnt_cvr.jpg | bin | 0 -> 45466 bytes | |||
| -rw-r--r-- | 25476-h/images/i001.png | bin | 0 -> 8369 bytes | |||
| -rw-r--r-- | 25476-h/images/i002.png | bin | 0 -> 9138 bytes | |||
| -rw-r--r-- | 25476-h/images/i003.png | bin | 0 -> 20926 bytes | |||
| -rw-r--r-- | 25476-h/images/i005.png | bin | 0 -> 28437 bytes | |||
| -rw-r--r-- | 25476-h/images/i007.jpg | bin | 0 -> 52298 bytes | |||
| -rw-r--r-- | 25476-h/images/i008.png | bin | 0 -> 28265 bytes | |||
| -rw-r--r-- | 25476-h/images/i011.jpg | bin | 0 -> 53439 bytes | |||
| -rw-r--r-- | 25476-h/images/i012.png | bin | 0 -> 15846 bytes | |||
| -rw-r--r-- | 25476-h/images/i015.png | bin | 0 -> 28487 bytes | |||
| -rw-r--r-- | 25476-h/images/i019.png | bin | 0 -> 14768 bytes | |||
| -rw-r--r-- | 25476-h/images/i021.png | bin | 0 -> 24152 bytes | |||
| -rw-r--r-- | 25476-h/images/i022.jpg | bin | 0 -> 57578 bytes | |||
| -rw-r--r-- | 25476-h/images/i024.png | bin | 0 -> 13022 bytes | |||
| -rw-r--r-- | 25476-h/images/i025.png | bin | 0 -> 18636 bytes | |||
| -rw-r--r-- | 25476-h/images/i026.jpg | bin | 0 -> 52742 bytes | |||
| -rw-r--r-- | 25476-h/images/i029.png | bin | 0 -> 28342 bytes | |||
| -rw-r--r-- | 25476-h/images/inside_frnt_cvr.jpg | bin | 0 -> 22065 bytes | |||
| -rw-r--r-- | 25476.txt | 894 | ||||
| -rw-r--r-- | 25476.zip | bin | 0 -> 16100 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
61 files changed, 2016 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/24576-page-images/c0001.jpg b/24576-page-images/c0001.jpg Binary files differnew file mode 100644 index 0000000..8b92f90 --- /dev/null +++ b/24576-page-images/c0001.jpg diff --git a/24576-page-images/c0002.jpg b/24576-page-images/c0002.jpg Binary files differnew file mode 100644 index 0000000..4db75b9 --- /dev/null +++ b/24576-page-images/c0002.jpg diff --git a/24576-page-images/f0001.jpg b/24576-page-images/f0001.jpg Binary files differnew file mode 100644 index 0000000..e4cf7e0 --- /dev/null +++ b/24576-page-images/f0001.jpg diff --git a/24576-page-images/f0002.jpg b/24576-page-images/f0002.jpg Binary files differnew file mode 100644 index 0000000..89921de --- /dev/null +++ b/24576-page-images/f0002.jpg diff --git a/24576-page-images/f0003.jpg b/24576-page-images/f0003.jpg Binary files differnew file mode 100644 index 0000000..831aebc --- /dev/null +++ b/24576-page-images/f0003.jpg diff --git a/24576-page-images/p0001-image.jpg b/24576-page-images/p0001-image.jpg Binary files differnew file mode 100644 index 0000000..15d88f4 --- /dev/null +++ b/24576-page-images/p0001-image.jpg diff --git a/24576-page-images/p0001.png b/24576-page-images/p0001.png Binary files differnew file mode 100644 index 0000000..e10e374 --- /dev/null +++ b/24576-page-images/p0001.png diff --git a/24576-page-images/p0002.png b/24576-page-images/p0002.png Binary files differnew file mode 100644 index 0000000..efd196b --- /dev/null +++ b/24576-page-images/p0002.png diff --git a/24576-page-images/p0003.jpg b/24576-page-images/p0003.jpg Binary files differnew file mode 100644 index 0000000..de5bdff --- /dev/null +++ b/24576-page-images/p0003.jpg diff --git a/24576-page-images/p0004.png b/24576-page-images/p0004.png Binary files differnew file mode 100644 index 0000000..7076cd4 --- /dev/null +++ b/24576-page-images/p0004.png diff --git a/24576-page-images/p0005.jpg b/24576-page-images/p0005.jpg Binary files differnew file mode 100644 index 0000000..0ae3822 --- /dev/null +++ b/24576-page-images/p0005.jpg diff --git a/24576-page-images/p0006.jpg b/24576-page-images/p0006.jpg Binary files differnew file mode 100644 index 0000000..db10bed --- /dev/null +++ b/24576-page-images/p0006.jpg diff --git a/24576-page-images/p0007.png b/24576-page-images/p0007.png Binary files differnew file mode 100644 index 0000000..7dbac60 --- /dev/null +++ b/24576-page-images/p0007.png diff --git a/24576-page-images/p0008.png b/24576-page-images/p0008.png Binary files differnew file mode 100644 index 0000000..8bbb6b2 --- /dev/null +++ b/24576-page-images/p0008.png diff --git a/24576-page-images/p0009.jpg b/24576-page-images/p0009.jpg Binary files differnew file mode 100644 index 0000000..968a551 --- /dev/null +++ b/24576-page-images/p0009.jpg diff --git a/24576-page-images/p0010-image.jpg b/24576-page-images/p0010-image.jpg Binary files differnew file mode 100644 index 0000000..44a9297 --- /dev/null +++ b/24576-page-images/p0010-image.jpg diff --git a/24576-page-images/p0010.png b/24576-page-images/p0010.png Binary files differnew file mode 100644 index 0000000..dbba89a --- /dev/null +++ b/24576-page-images/p0010.png diff --git a/24576-page-images/p0011.png b/24576-page-images/p0011.png Binary files differnew file mode 100644 index 0000000..fad7a16 --- /dev/null +++ b/24576-page-images/p0011.png diff --git a/24576-page-images/p0012.png b/24576-page-images/p0012.png Binary files differnew file mode 100644 index 0000000..8c84b96 --- /dev/null +++ b/24576-page-images/p0012.png diff --git a/24576-page-images/p0013.jpg b/24576-page-images/p0013.jpg Binary files differnew file mode 100644 index 0000000..6f8484d --- /dev/null +++ b/24576-page-images/p0013.jpg diff --git a/24576-page-images/p0014.png b/24576-page-images/p0014.png Binary files differnew file mode 100644 index 0000000..6b6bba2 --- /dev/null +++ b/24576-page-images/p0014.png diff --git a/24576-page-images/p0015.png b/24576-page-images/p0015.png Binary files differnew file mode 100644 index 0000000..b93d37c --- /dev/null +++ b/24576-page-images/p0015.png diff --git a/24576-page-images/p0016-image.jpg b/24576-page-images/p0016-image.jpg Binary files differnew file mode 100644 index 0000000..8edd437 --- /dev/null +++ b/24576-page-images/p0016-image.jpg diff --git a/24576-page-images/p0016.png b/24576-page-images/p0016.png Binary files differnew file mode 100644 index 0000000..445b631 --- /dev/null +++ b/24576-page-images/p0016.png diff --git a/24576-page-images/p0017.jpg b/24576-page-images/p0017.jpg Binary files differnew file mode 100644 index 0000000..5fadf4f --- /dev/null +++ b/24576-page-images/p0017.jpg diff --git a/24576-page-images/p0018.jpg b/24576-page-images/p0018.jpg Binary files differnew file mode 100644 index 0000000..329f7d4 --- /dev/null +++ b/24576-page-images/p0018.jpg diff --git a/24576-page-images/p0019.png b/24576-page-images/p0019.png Binary files differnew file mode 100644 index 0000000..d5c3dd6 --- /dev/null +++ b/24576-page-images/p0019.png diff --git a/24576-page-images/p0020-image.jpg b/24576-page-images/p0020-image.jpg Binary files differnew file mode 100644 index 0000000..1ba90f5 --- /dev/null +++ b/24576-page-images/p0020-image.jpg diff --git a/24576-page-images/p0020.png b/24576-page-images/p0020.png Binary files differnew file mode 100644 index 0000000..ae5ae6a --- /dev/null +++ b/24576-page-images/p0020.png diff --git a/24576-page-images/p0021-image.jpg b/24576-page-images/p0021-image.jpg Binary files differnew file mode 100644 index 0000000..8a6e7ec --- /dev/null +++ b/24576-page-images/p0021-image.jpg diff --git a/24576-page-images/p0021.png b/24576-page-images/p0021.png Binary files differnew file mode 100644 index 0000000..a5878f8 --- /dev/null +++ b/24576-page-images/p0021.png diff --git a/24576-page-images/p0022.jpg b/24576-page-images/p0022.jpg Binary files differnew file mode 100644 index 0000000..3a0d052 --- /dev/null +++ b/24576-page-images/p0022.jpg diff --git a/24576-page-images/p0023.png b/24576-page-images/p0023.png Binary files differnew file mode 100644 index 0000000..1bd2c23 --- /dev/null +++ b/24576-page-images/p0023.png diff --git a/24576-page-images/p0024.png b/24576-page-images/p0024.png Binary files differnew file mode 100644 index 0000000..eacf6a0 --- /dev/null +++ b/24576-page-images/p0024.png diff --git a/24576-page-images/p0025.jpg b/24576-page-images/p0025.jpg Binary files differnew file mode 100644 index 0000000..bb142aa --- /dev/null +++ b/24576-page-images/p0025.jpg diff --git a/25476-h.zip b/25476-h.zip Binary files differnew file mode 100644 index 0000000..951e678 --- /dev/null +++ b/25476-h.zip diff --git a/25476-h/25476-h.htm b/25476-h/25476-h.htm new file mode 100644 index 0000000..198154e --- /dev/null +++ b/25476-h/25476-h.htm @@ -0,0 +1,1106 @@ +<!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"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Golden Deeds, by Anonymous. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p {margin-top: .75em; + text-align: justify; + text-indent: 1.25em; + margin-bottom: .75em; + } + img {border: 0;} + .tnote {border: dashed 1px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em; + padding-left: .5em; padding-right: .5em;} + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + visibility: hidden; + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .center {text-align: center;} + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Golden Deeds, by Anonymous + +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: Golden Deeds + Stories from History + +Author: Anonymous + +Release Date: May 15, 2008 [EBook #25476] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK GOLDEN DEEDS *** + + + + +Produced by Delphine Lettau, Emmy and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + + + + + +<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="Cover and Title Page"> +<tr><td align='left'><div class="figcenter" style="width: 291px;"> +<img src="images/frnt_cvr.jpg" width="291" height="400" alt="Cover" title="Cover" /> +</div></td><td align='left'><h1>GOLDEN DEEDS</h1> + +<h3>STORIES FROM HISTORY</h3> + +<div class="figcenter" style="width: 159px;"> +<img src="images/i001.png" width="159" height="350" alt="Pageboy" title="Pageboy" /> +</div> + +<h3>RETOLD FOR LITTLE FOLK</h3> + +<div class='center'> +<b>BLACKIE AND SON LIMITED</b><br /> +LONDON GLASGOW DUBLIN BOMBAY<br /> +</div></td></tr> +</table></div> + + +<div class="figcenter" style="width: 299px;"> +<img src="images/inside_frnt_cvr.jpg" width="299" height="300" alt="Inside cover" title="Inside cover" /> +</div> + +<p><span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> + +<div class='center'> +<table border="0" cellpadding="4" cellspacing="0" summary="Contents"> +<tr><td align='left'><div class="figcenter" style="width: 154px;"> +<img src="images/i002.png" width="154" height="350" alt="Soldier" title="Soldier" /> +</div></td><td align='left'><h2>List of Stories</h2> + +<div class='center'> +<table border="0" cellpadding="0" cellspacing="0" summary="Contents"> +<tr><td align='left'><a href="#How_Horatius_Kept_the_Bridge"><b>How Horatius Kept the Bridge</b></a></td></tr> +<tr><td align='left'><a href="#William_Tell"><b>William Tell</b></a></td></tr> +<tr><td align='left'><a href="#Catherine_Douglas"><b>Catherine Douglas</b></a></td></tr> +<tr><td align='left'><a href="#Casabianca"><b>Casabianca</b></a></td></tr> +<tr><td align='left'><a href="#Handel_the_Great_Musician"><b>Handel, the Great Musician</b></a></td></tr> +<tr><td align='left'><a href="#The_Story_of_Columbus"><b>The Story of Columbus</b></a></td></tr> +<tr><td align='left'><a href="#Antonio_Canova"><b>Antonio Canova</b></a></td></tr> +<tr><td align='left'><a href="#Damon_and_Pythias"><b>Damon and Pythias</b></a></td></tr> +<tr><td align='left'><a href="#Charlemagne_and_the"><b>Charlemagne and the Charcoal-burner</b></a></td></tr> +</table></div> +</td></tr> +</table></div> + + + + +<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 400px;"> +<img src="images/i003.png" width="400" height="267" alt="How Horatius Kept the Bridge" title="How Horatius Kept the Bridge" /> +</div> + + + + +<h2><a name="How_Horatius_Kept_the_Bridge" id="How_Horatius_Kept_the_Bridge"></a>How Horatius Kept the Bridge</h2> + + +<p>More than two thousand years ago Rome was ruled +over by some kings called the Tarquins. As they +were wicked men, the Roman people rose up against +them, and drove them out of the city. The banished +kings then went to Tuscany, where Lars Porsena took +up their cause, and gathering an army together, went +to help them force an entrance into Rome again.</p> +<div class="figleft" style="width: 288px;"> +<img src="images/i005.png" width="288" height="400" alt="HORATIUS AT THE BRIDGE" title="HORATIUS AT THE BRIDGE" /> +<span class="caption">HORATIUS AT THE BRIDGE</span> +</div> + +<p>The city could only be entered by crossing the river +Tiber, and there was but one wooden bridge over which +the army could pass. Then the leader of the Romans, +who was called the Consul, cried out to his followers +<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>to destroy the bridge.</p> + +<p>"But," he added sadly, "I fear they will be upon us +before we have time to hew it down."</p> + +<p>At this a Roman called Horatius came forward and +offered to stand at the farther end of the bridge, to keep +the Tuscans at bay while it was being destroyed.</p> + +<p>"The pathway is so narrow," said he, "that if two +others will help me, we can stop the whole army from +advancing. So who will keep the bridge with me?"</p> + +<p>Two other brave Romans, called Spurius Lartius and +Titus Herminius, at once answered the call of their +comrade, and these three gallant men went to defend the +passage, while the rest hastened to destroy the bridge.</p> + +<p>When the Tuscans saw the three men standing ready +to meet the whole army, they laughed aloud in scorn. +But their laughter was soon changed to wrath and despair, +as one after the other they and their chiefs were quickly +laid low at the feet of the dauntless Romans.</p> + +<p>Meanwhile the supports of the bridge were destroyed. +The Consul shouted to the three heroes to hasten across +before the ruin fell into the water beneath. Lartius and +Herminius just succeeded in getting safely to the farther +bank, but Horatius remained facing the foe until the last +beam fell. Then with a cry he leapt into the foaming +stream, and although badly wounded and heavy with his +armour, he managed to rejoin his comrades on dry land, +to the joy of the whole city. During his gallant fight, +a dart from an enemy's arrow had put out one eye, and +because of this he was given the surname of Cocles, +<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>which means one-eyed.</p> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span></p> +<h2><a name="William_Tell" id="William_Tell"></a>William Tell</h2> + +<div class="figright" style="width: 292px;"> +<img src="images/i007.jpg" width="292" height="400" alt="TELL'S SON AND THE APPLE" title="TELL'S SON AND THE APPLE" /> +<span class="caption">TELL'S SON AND THE APPLE</span> +</div> +<p>When the Emperor Albert ruled over Germany, +he wished to govern the people of Switzerland +in such a way that their independent spirit would be +broken. To bring about this end he appointed a +governor, who treated the Swiss unjustly and cruelly.</p> + +<p>The name of this man was Gessler, and in order to +test the people's obedience, he placed his hat upon a pole +in the market square of one of the principal towns, and +commanded that all who passed it should bow down before +it in token of respect. A certain brave Swiss, named +William Tell, having refused to obey such an absurd +order, was at once arrested and taken before Gessler. +The tyrant, who knew him to be a clever archer, said that +his life would be spared only on the condition that he +should with an arrow hit an apple placed upon the head +of his only son. Tell's eye was true, so he consented +to the horrible proposal.</p> + +<p>An apple having been placed upon the head of his +little son, he took his bow and quiver, and prepared to +take aim. A moment later the apple, split in two halves, +fell to the ground.</p> + +<p>Gessler, who was enraged at Tell's success, noticed +that he carried another arrow under his cloak.</p> + +<p>"What have you a second arrow for?" he demanded.</p> + +<p>"If I had killed my boy," replied the bold Swiss, +"the second arrow was for you."</p> + +<p>The angry governor had him thrown into prison, but +Tell escaped, and revenged himself by killing the tyrant.<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span><br /><span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p> + + + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> + +<h2><a name="Catherine_Douglas" id="Catherine_Douglas"></a>Catherine Douglas</h2> + +<div class="figright" style="width: 292px;"> +<img src="images/i008.png" width="292" height="400" alt="FOR THE KING!" title="FOR THE KING!" /> +<span class="caption">FOR THE KING!</span> +</div> +<p>When King James came to the throne of Scotland, +the whole country was in a state of rebellion.</p> + +<p>The King tried to restore order, but the wicked nobles +hated him, and plotted together to take his life.</p> + +<p>It was Christmas, and King James, with his Queen +Joan and a party of faithful friends, was celebrating the +season at an old monastery in Perth. The day had passed +merrily, and the royal couple prepared to retire.</p> + +<p>Suddenly the clang of arms was heard. The ladies +rushed to secure the door of the room, but alas! the bolts +and bars had gone, and only the empty staples remained. +Meanwhile King James seized the tongs, and tearing up +a board in the floor, let himself down into a vault below. +But before there was time to replace the board, the murderers +came rushing along. Then Catherine Douglas, +one of the Queen's ladies, flew to the door and thrust +her arm through the empty staples, thus gaining time +to allow her sovereign to escape. The brave arm was +but a frail bar, and was soon broken, and the traitors +burst into the room, to find no sign of King James.</p> + +<p>Unfortunately the King was unable to get out of the +vault. The ladies then made ropes of the sheets, and +tried to pull him up, but the noise was heard by the +ruffians. They again rushed into the room and the unfortunate +monarch was most cruelly murdered.</p> + +<p>Although Catherine's brave deed was not rewarded by +the salvation of her King's life, yet it was an act of self-sacrifice +which places her among the ranks of true heroines.<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Casabianca" id="Casabianca"></a>Casabianca</h2> + + +<p>The Battle of the Nile was a great battle fought at +sea between the British and French in the year 1798. +The famous admiral, Lord Nelson, was in command of +the British fleet, and he won a most glorious victory in +which only four French ships escaped.</p> +<div class="figleft" style="width: 289px;"> +<img src="images/i011.jpg" width="289" height="400" alt="CASABIANCA ON THE BURNING SHIP" title="CASABIANCA ON THE BURNING SHIP" /> +<span class="caption">CASABIANCA ON THE BURNING SHIP</span> +</div> +<p>Towards the close of the battle the French Admiral's +flagship, <i>L'Orient</i>, caught fire, and blazed up with terrible +brightness. Lord Nelson immediately gave orders that +the British boats should be put off to save as many +as possible of the poor sailors on the burning vessel.</p> + +<p>When the boats reached her side, most of the French +officers accepted the offer of safety and sprang into them. +Standing upon <i>L'Orient's</i> deck was the little ten-year-old +son of the Captain, named Casabianca, who was the favourite +of everyone on board, and as he made no attempt +to move, the British sailors shouted to him to come with +them.</p> + +<p>"No," replied the boy; "my father told me to remain +here, and not to stir unless he called me."</p> + +<p>"But," cried the sailors in amazement, "your father +lies mortally wounded on deck, and the ship will soon +blow up. Jump into the boat and save yourself."</p> + +<p>"No," again responded the little fellow; "I must obey +my father's orders."</p> + +<p>As there was no time to linger, the boat put off from +the ship's side. A few minutes later the figure of Casabianca +was seen in the glare of the flames, leaning over +the prostrate figure of his father.<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> + +<p><span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> + +<p>Soon after, a terrible explosion shook every ship in +the bay, while burning fragments of <i>L'Orient</i> were hurled +in the air, falling heavily to the water in all directions. +A dead silence followed this fearful sound, and then the +British boats rowed busily about, picking up those who +had leapt from the burning vessel in time to save their +lives. In this way about seventy were saved. But where +was the brave boy, Casabianca? Not a sign of him was +to be seen. The noble lad had perished with his father, +faithful until death.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/i012.png" width="400" height="254" alt="Exploding ship" title="Exploding ship" /> +</div><p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Handel_the_Great_Musician" id="Handel_the_Great_Musician"></a>Handel, the Great Musician</h2> + + +<div class="figright" style="width: 286px;"> +<img src="images/i015.png" width="286" height="400" alt="THE CHILD MUSICIAN" title="THE CHILD MUSICIAN" /> +<span class="caption">THE CHILD MUSICIAN</span> +</div> +<p>In the small German town of Halle there once lived +a barber-surgeon named George Handel. In those +days barbers were nearly always surgeons as well, and +George Handel was a very respected member of the profession. +He had a large family of sons and daughters, +the youngest of whom was called George Frederick. +When quite a small child this little fellow showed a +decided taste for music. In the nursery his only toys +were trumpets, drums, flutes, and anything out of which +he could get musical sounds. As he grew older this +intense love of music increased, until it became the one +great thought and pleasure of his life. Seeing this his +father was very distressed and alarmed, for he did not +wish his little son to take up music as the means of +earning his living.</p> + +<p>At that time organists and musicians were very poorly +paid, and George Handel wanted his boy to get on well +in the world. So he tried to turn the child's mind away +from all such ideas, by never allowing him to go to any +place where music was performed, and by sending every +instrument out of his house. But in spite of so much +care and trouble taken, it was impossible to destroy the +strongest desire of the boy's nature.</p> + +<p>One night, after the household had gone to bed, Mr. +Handel was awakened by the sound of soft music stealing +from an unused garret. He arose in great surprise, +and calling his wife they went to find out the cause of +these strange sounds.<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> + +<p>Going quietly to the garret they paused to listen outside +for a few moments, when their astonishment was increased +by the beauty of the melody which met their ears. Then, +opening the door and holding up the candle he carried, +George Handel peered wonderingly into the dusty old +lumber-room. There, seated at a clavichord (an instrument +something like a piano, only much smaller), was his little +son Frederick, then only six years old. The child had +coaxed one of his aunts, who was his friend and sympathizer, +to help him smuggle the clavichord into the +garret, where he taught himself to play while his parents +were asleep, or out of the house.</p> + +<p>The wonderful sweetness of the music, together with +the earnest entreaties of the tiny performer, softened the +heart of his father to forgiveness of his conduct. But +even then the old gentleman could not be induced to +allow his son to follow the profession for which nature +had so well fitted him, as he feared he would not be able +to earn his living at it. However, it happened not long +after that the Duke of Saxe-Weissenfels heard the boy +play, and was so struck by his genius that he persuaded +his parent to consent to have him properly trained.</p> + +<p>When once he was enabled to continue his studies +under the guidance of a good master, it did not take +young Handel long to show not only his father, but the +whole world, that he was a truly great and marvellously +gifted musician. To-day his famous oratorios are played +everywhere, and people delight in them and marvel at them +just as much as when they were first produced.<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span><br /><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 600px;"> +<img src="images/centrefold.jpg" width="600" height="365" alt="COLUMBUS ON HIS VOYAGE TO AMERICA" title="COLUMBUS ON HIS VOYAGE TO AMERICA" /> +<span class="caption">COLUMBUS ON HIS VOYAGE TO AMERICA</span> +</div><p><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span><span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span></p> + + + + +<h2><a name="The_Story_of_Columbus" id="The_Story_of_Columbus"></a>The Story of Columbus</h2> + + +<p>About four hundred years ago there lived an Italian +sailor, named Christopher Columbus. In those +days people supposed that there were no continents in +the world besides Europe, Asia, and Africa, but Columbus +believed there was a great country across the ocean that had +never been discovered. He felt a burning desire to sail in +search of this land, but as he was a poor man he had not the +money with which to get the necessary ships and men. For +some time he wandered from place to place trying to induce +others to help him carry out his plan, but he was only +laughed at and called a fool and a madman. At length +he obtained an interview with King Ferdinand and Queen +Isabella of Spain. At first they refused to give him any +assistance, but afterwards the Queen said she would pledge +her jewels to raise the needful money.</p> + +<p>So in the month of August, Columbus sailed away +upon his voyage of discovery, his little fleet consisting of +three small vessels. For four weeks they sailed on +over the dark and stormy waters, during which time +Columbus had much trouble with his sailors, who grumbled +and complained unceasingly. When at length they found +themselves alone on the vast unknown seas, with no sign +of land, they became panic-stricken, and implored Columbus +to take them home again. He reproved them for their want +of courage. Then for a little while they showed a braver +spirit, but before long they again broke out into rebellion; +but Columbus was so strong-minded and courageous that +he succeeded in quelling the mutiny.<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span></p> + +<p>Thus days passed, until one night, in the middle of +October, as Columbus was walking on deck he suddenly +saw a light ahead which told the sea-weary mariners that +the longed-for land must lie not far distant. When at +last dawn came it showed an island lying in the blue +waters before them. A boat was at once lowered, in +which Columbus and a party of his men landed upon +the unknown shore. Groups of dark-skinned natives +crowded to the water side, gazing in fear and wonder +at the strange white men. Then, with the Spanish royal +flag in one hand and his sword in the other, he took +possession of the island in the name of King Ferdinand +and Queen Isabella. Having visited other islands, Columbus +returned in triumph to Spain, where he was greeted +as a hero.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/i019.png" width="400" height="238" alt="The ship" title="The ship" /> +</div><p><span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span></p> + + + +<hr style="width: 65%;" /> +<h2><a name="Antonio_Canova" id="Antonio_Canova"></a>Antonio Canova</h2> + +<div class="figleft" style="width: 283px;"> +<img src="images/i021.png" width="283" height="400" alt="A CLEVER PUPIL" title="A CLEVER PUPIL" /> +<span class="caption">A CLEVER PUPIL</span> +</div> +<p>In the sunny land of Italy, in the obscure little village +of Possagno near Venice, there once lived a little lad +whose name was Antonio Canova. As he was left an +orphan at three years old he dwelt with his grandfather, +who earned his living by cutting figures and ornaments +out of stone. The old man took the greatest care of +his grandson and wished to train Antonio to become a +stone-cutter too, so with this end in view the boy was +taught drawing. He soon showed great talent, and when +he began to model birds and flowers in clay, he succeeded +so well that his grandfather was both astonished and +delighted. Even in his ninth year he made two beautiful +marble shrines which can be seen to this day.</p> + +<p>One day a nobleman called Giovanni Falieri, who was +about to give a large dinner party, asked old Canova to +make him some ornament for the table. He said he did +not care what it was, but wanted something new and +uncommon. There was but little time before the date +fixed for the party, and the old stone-cutter tried in vain +to think of a suitable object. Seeing his grandfather so +troubled, Antonio said to him, "I think I can make +something to please his lordship. If you will let me have +some good hard butter I will make him a butter lion."</p> + +<p>"That is an excellent idea," replied the old man. And +he sent for the butter at once.</p> + +<p>Antonio set to work, and very soon he had shaped +a lion's head, with fine flowing mane, out of the creamy +mass. Then followed a beautifully formed body and limbs.<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> + +<p><span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span></p> + +<div class="figright" style="width: 294px;"> +<img src="images/i022.jpg" width="294" height="400" alt="CANOVA'S BUTTER LION" title="CANOVA'S BUTTER LION" /> +<span class="caption">CANOVA'S BUTTER LION</span> +</div><p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> + +<p>When the animal was complete his grandfather looked +at it with intense pride and admiration, and it was carefully +carried to his lordship. It attracted a great deal +of attention at the dinner party, and amid cries of wonderment +was passed from hand to hand. When the nobleman +and his guests heard that it was the work of a boy, they +expressed a great desire to see the talented young artist. +Antonio was sent for, and his lordship was so impressed +with his talent that he promised to see that he had the +best masters, and that he was given every chance to +succeed in his profession.</p> + +<p>Giovanni Falieri nobly kept his word, and placed him +as a pupil under Bernardi, or as he is usually called +Torretti, a famous Venetian sculptor, who happened to +be staying in a neighbouring village at the time. By +the aid of this kind friend, and the power of his own +genius, Antonio became a world-renowned sculptor. And +not only was he a famous sculptor, but he was even entrusted +with great affairs of state.</p> + +<p>When the great Napoleon conquered Italy he carried +off most unjustly hundreds of priceless works of art, and +when the tyrant was overthrown the young Canova was +sent as ambassador to Paris to find the whereabouts of +these works. For these and other services he was made +by the Pope Marquis of Ischia, and given a pension +of 3000 scudi. But Canova was very good and generous +and he devoted all this pension for the relief of his poor +brother artists. Thus the little figure of the butter lion +proved to be the stepping-stone to fame.<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span></p> + + + + + +<hr style="width: 65%;" /> +<div class="figcenter" style="width: 400px;"> +<img src="images/i024.png" width="400" height="242" alt="Damon and Pythias" title="Damon and Pythias" /> +</div> +<h2><a name="Damon_and_Pythias" id="Damon_and_Pythias"></a>Damon and Pythias</h2> + + +<p>The city of Syracuse was once ruled over by a clever +but very cruel man called Dionysius. Perhaps he +would not have been so harsh and cruel if he had been +able to trust his people; but he knew that the Syracusans +hated him. It happened that he once suspected a certain +Greek called Pythias, and his anger was so terrible that +he sentenced the unfortunate man to death. Pythias begged +to be allowed to go and bid his relations in the country +farewell, promising to return at a given time to suffer the +death to which he had been condemned. Dionysius +laughed his request to scorn, saying that once he was +safely out of Syracuse it was not likely he would ever +return to die. Pythias replied that he had a friend, +named Damon, who would be answerable for his return<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> +at the given time. Damon then came forward and swore +that if Pythias did not keep his word, he himself would +suffer death in his stead. Dionysius consented to let +Pythias go.</p> + +<p>Time went on and the day fixed for his return drew +near, but still he did not come. The Syracusans told +Damon that he would have to die for his faithless friend, +but Damon showed no anxiety. At length the very day +and hour upon which the condemned man was to die came +round. But a few minutes before the fatal time Pythias +rushed in, and having warmly embraced his friend, he +went forward to take his place. Dionysius was so struck +by the conduct of the two men that he pardoned Pythias, +and calling him and Damon to his side he entreated them +to allow him to be a third in their friendship.</p> + +<div class="figcenter" style="width: 400px;"> +<img src="images/i025.png" width="400" height="254" alt="Damon and Pythias again" title="Damon and Pythias again" /> +</div> + + +<hr style="width: 65%;" /><p><span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span></p> + +<p><span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> + +<h2><a name="Charlemagne_and_the" id="Charlemagne_and_the"></a>Charlemagne and the<br /> +Charcoal-burner</h2> + +<div class="figleft" style="width: 293px;"> +<img src="images/i026.jpg" width="293" height="400" alt="CHARLEMAGNE AND THE CHARCOAL-BURNER" title="CHARLEMAGNE AND THE CHARCOAL-BURNER" /> +<span class="caption">CHARLEMAGNE AND THE CHARCOAL-BURNER</span> +</div> +<p>Once the noble Charlemagne, King of the Franks, +was riding across a lonely moor with some of his +courtiers, when they were overtaken by a terrific storm. +It became so dark that the party lost sight of one another, +and the King found himself alone in the tempest of wind +and rain. As he struggled on he met a poor man leading +a horse with two great baskets upon its back.</p> + +<p>"What is your name, friend?" enquired Charlemagne.</p> + +<p>"I am Ralph, the charcoal-burner," replied the man.</p> + +<p>"Can you tell me where I can find shelter for my +horse and myself?" asked the King.</p> + +<p>"If you care to come with me to my cottage you will +be very welcome," answered Ralph.</p> + +<p>The King was only too glad to accompany the man +to his house in the forest. When they reached the door +the charcoal-burner called to his wife to hasten to let them +in. Ralph stood aside for his companion to pass in first, +but Charlemagne hung back behind. Seeing this the man +took him by the neck and pushed him in the house, saying, +"It is only right that my guest should enter first."</p> + +<p>When supper was ready the charcoal-burner bade King +Charlemagne go to the table before him. But again His +Majesty held back. Then Ralph gave his visitor such +a sound box on the ear that he staggered and fell.</p> + +<p>"Why will you not do as I bid you?" he cried angrily.</p> + +<p>"These are strange doings indeed," said the King to +himself, as he rose from the ground.<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> + +<p>"Now tell me who you are, and where you live?" +said the peasant to his royal guest.</p> +<div class="figright" style="width: 287px;"> +<img src="images/i029.png" width="287" height="400" alt="THE CHARCOAL-BURNER AT THE PALACE" title="THE CHARCOAL-BURNER AT THE PALACE" /> +<span class="caption">THE CHARCOAL-BURNER AT THE PALACE</span> +</div> +<p>"My name is Uzmond, and I live at Court, where I +have an office with the Queen," replied Charlemagne.</p> + +<p>Early the next morning, Charlemagne before starting +offered to pay Ralph for his food and lodging, but the +man refused to take payment for sheltering one who belonged +to the Court of the noble King of France.</p> + +<p>"So be it," answered His Majesty. "But if you will +not let me pay you, come to the Court with a load of +coals and I will see that you sell your goods."</p> + +<p>"That will I do," answered Ralph.</p> + +<p>The following day Ralph loaded his mare with two +large baskets of coal and set off to Court. When he +arrived there he asked for one Uzmond, but no one knew +of such a person. The King had given orders that he +should be admitted into the Palace, and at length he +came to a splendid hall, where Charlemagne sat at dinner +with his nobles. The poor charcoal-burner at once pointed +at His Majesty, exclaiming, "See, there sits Uzmond, but +truly he must be a greater man than he said!"</p> + +<p>At this His Majesty burst into a loud laugh, and +rising from his seat he told the whole company how he +had fared at Ralph's cottage. The lords all laughed +heartily, but some of them would have had Ralph punished +for having boxed the King's ears.</p> + +<p>"Nay," said Charlemagne, "Heaven forbid I should +harm him. He is an honest man who can strike a hard +blow, and I shall make him a knight instead."<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + + +<div class='tnote'><h3>Transcriber's Note:</h3> +<p>The original did not have a List of Stories, one was added to this version.</p></div> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Golden Deeds, by Anonymous + +*** END OF THIS PROJECT GUTENBERG EBOOK GOLDEN DEEDS *** + +***** This file should be named 25476-h.htm or 25476-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/5/4/7/25476/ + +Produced by Delphine Lettau, Emmy and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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/25476-h/images/centrefold.jpg b/25476-h/images/centrefold.jpg Binary files differnew file mode 100644 index 0000000..f3e00c6 --- /dev/null +++ b/25476-h/images/centrefold.jpg diff --git a/25476-h/images/frnt_cvr.jpg b/25476-h/images/frnt_cvr.jpg Binary files differnew file mode 100644 index 0000000..f3520ce --- /dev/null +++ b/25476-h/images/frnt_cvr.jpg diff --git a/25476-h/images/i001.png b/25476-h/images/i001.png Binary files differnew file mode 100644 index 0000000..cf75817 --- /dev/null +++ b/25476-h/images/i001.png diff --git a/25476-h/images/i002.png b/25476-h/images/i002.png Binary files differnew file mode 100644 index 0000000..a715baa --- /dev/null +++ b/25476-h/images/i002.png diff --git a/25476-h/images/i003.png b/25476-h/images/i003.png Binary files differnew file mode 100644 index 0000000..8b40a5d --- /dev/null +++ b/25476-h/images/i003.png diff --git a/25476-h/images/i005.png b/25476-h/images/i005.png Binary files differnew file mode 100644 index 0000000..1663812 --- /dev/null +++ b/25476-h/images/i005.png diff --git a/25476-h/images/i007.jpg b/25476-h/images/i007.jpg Binary files differnew file mode 100644 index 0000000..e5c1edf --- /dev/null +++ b/25476-h/images/i007.jpg diff --git a/25476-h/images/i008.png b/25476-h/images/i008.png Binary files differnew file mode 100644 index 0000000..d793f8f --- /dev/null +++ b/25476-h/images/i008.png diff --git a/25476-h/images/i011.jpg b/25476-h/images/i011.jpg Binary files differnew file mode 100644 index 0000000..5b7967f --- /dev/null +++ b/25476-h/images/i011.jpg diff --git a/25476-h/images/i012.png b/25476-h/images/i012.png Binary files differnew file mode 100644 index 0000000..beca1fe --- /dev/null +++ b/25476-h/images/i012.png diff --git a/25476-h/images/i015.png b/25476-h/images/i015.png Binary files differnew file mode 100644 index 0000000..09cdda1 --- /dev/null +++ b/25476-h/images/i015.png diff --git a/25476-h/images/i019.png b/25476-h/images/i019.png Binary files differnew file mode 100644 index 0000000..2490fca --- /dev/null +++ b/25476-h/images/i019.png diff --git a/25476-h/images/i021.png b/25476-h/images/i021.png Binary files differnew file mode 100644 index 0000000..d9ae248 --- /dev/null +++ b/25476-h/images/i021.png diff --git a/25476-h/images/i022.jpg b/25476-h/images/i022.jpg Binary files differnew file mode 100644 index 0000000..875b8ed --- /dev/null +++ b/25476-h/images/i022.jpg diff --git a/25476-h/images/i024.png b/25476-h/images/i024.png Binary files differnew file mode 100644 index 0000000..2912d4a --- /dev/null +++ b/25476-h/images/i024.png diff --git a/25476-h/images/i025.png b/25476-h/images/i025.png Binary files differnew file mode 100644 index 0000000..b55d97b --- /dev/null +++ b/25476-h/images/i025.png diff --git a/25476-h/images/i026.jpg b/25476-h/images/i026.jpg Binary files differnew file mode 100644 index 0000000..a4ed778 --- /dev/null +++ b/25476-h/images/i026.jpg diff --git a/25476-h/images/i029.png b/25476-h/images/i029.png Binary files differnew file mode 100644 index 0000000..8dc1f71 --- /dev/null +++ b/25476-h/images/i029.png diff --git a/25476-h/images/inside_frnt_cvr.jpg b/25476-h/images/inside_frnt_cvr.jpg Binary files differnew file mode 100644 index 0000000..2d47959 --- /dev/null +++ b/25476-h/images/inside_frnt_cvr.jpg diff --git a/25476.txt b/25476.txt new file mode 100644 index 0000000..1412930 --- /dev/null +++ b/25476.txt @@ -0,0 +1,894 @@ +The Project Gutenberg EBook of Golden Deeds, by Anonymous + +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: Golden Deeds + Stories from History + +Author: Anonymous + +Release Date: May 15, 2008 [EBook #25476] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK GOLDEN DEEDS *** + + + + +Produced by Delphine Lettau, Emmy and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + + + + + + +GOLDEN DEEDS + +STORIES FROM HISTORY + +[Illustration] + +RETOLD FOR LITTLE FOLK + + BLACKIE AND SON LIMITED + LONDON GLASGOW DUBLIN BOMBAY + +[Illustration] + +CONTENTS + + How Horatius Kept the Bridge + William Tell + Catherine Douglas + Casabianca + Handel, the Great Musician + The Story of Columbus + Antonio Canova + Damon and Pythias + Charlemagne and the Charcoal-burner + + + + +[Illustration] + + + + +How Horatius Kept the Bridge + + +More than two thousand years ago Rome was ruled over by some kings +called the Tarquins. As they were wicked men, the Roman people rose up +against them, and drove them out of the city. The banished kings then +went to Tuscany, where Lars Porsena took up their cause, and gathering +an army together, went to help them force an entrance into Rome again. + +The city could only be entered by crossing the river Tiber, and there +was but one wooden bridge over which the army could pass. Then the +leader of the Romans, who was called the Consul, cried out to his +followers to destroy the bridge. + +"But," he added sadly, "I fear they will be upon us before we have time +to hew it down." + +At this a Roman called Horatius came forward and offered to stand at the +farther end of the bridge, to keep the Tuscans at bay while it was being +destroyed. + +"The pathway is so narrow," said he, "that if two others will help me, +we can stop the whole army from advancing. So who will keep the bridge +with me?" + +Two other brave Romans, called Spurius Lartius and Titus Herminius, at +once answered the call of their comrade, and these three gallant men +went to defend the passage, while the rest hastened to destroy the +bridge. + +When the Tuscans saw the three men standing ready to meet the whole +army, they laughed aloud in scorn. But their laughter was soon changed +to wrath and despair, as one after the other they and their chiefs were +quickly laid low at the feet of the dauntless Romans. + +Meanwhile the supports of the bridge were destroyed. The Consul shouted +to the three heroes to hasten across before the ruin fell into the water +beneath. Lartius and Herminius just succeeded in getting safely to the +farther bank, but Horatius remained facing the foe until the last beam +fell. Then with a cry he leapt into the foaming stream, and although +badly wounded and heavy with his armour, he managed to rejoin his +comrades on dry land, to the joy of the whole city. During his gallant +fight, a dart from an enemy's arrow had put out one eye, and because of +this he was given the surname of Cocles, which means one-eyed. + +[Illustration: HORATIUS AT THE BRIDGE] + + + + +William Tell + + +When the Emperor Albert ruled over Germany, he wished to govern the +people of Switzerland in such a way that their independent spirit would +be broken. To bring about this end he appointed a governor, who treated +the Swiss unjustly and cruelly. + +The name of this man was Gessler, and in order to test the people's +obedience, he placed his hat upon a pole in the market square of one of +the principal towns, and commanded that all who passed it should bow +down before it in token of respect. A certain brave Swiss, named William +Tell, having refused to obey such an absurd order, was at once arrested +and taken before Gessler. The tyrant, who knew him to be a clever +archer, said that his life would be spared only on the condition that he +should with an arrow hit an apple placed upon the head of his only son. +Tell's eye was true, so he consented to the horrible proposal. + +An apple having been placed upon the head of his little son, he took his +bow and quiver, and prepared to take aim. A moment later the apple, +split in two halves, fell to the ground. + +Gessler, who was enraged at Tell's success, noticed that he carried +another arrow under his cloak. + +"What have you a second arrow for?" he demanded. + +"If I had killed my boy," replied the bold Swiss, "the second arrow was +for you." + +The angry governor had him thrown into prison, but Tell escaped, and +revenged himself by killing the tyrant. + +[Illustration: TELL'S SON AND THE APPLE] + +[Illustration: FOR THE KING!] + + + + +Catherine Douglas + + +When King James came to the throne of Scotland, the whole country was in +a state of rebellion. + +The King tried to restore order, but the wicked nobles hated him, and +plotted together to take his life. + +It was Christmas, and King James, with his Queen Joan and a party of +faithful friends, was celebrating the season at an old monastery in +Perth. The day had passed merrily, and the royal couple prepared to +retire. + +Suddenly the clang of arms was heard. The ladies rushed to secure the +door of the room, but alas! the bolts and bars had gone, and only the +empty staples remained. Meanwhile King James seized the tongs, and +tearing up a board in the floor, let himself down into a vault below. +But before there was time to replace the board, the murderers came +rushing along. Then Catherine Douglas, one of the Queen's ladies, flew +to the door and thrust her arm through the empty staples, thus gaining +time to allow her sovereign to escape. The brave arm was but a frail +bar, and was soon broken, and the traitors burst into the room, to find +no sign of King James. + +Unfortunately the King was unable to get out of the vault. The ladies +then made ropes of the sheets, and tried to pull him up, but the noise +was heard by the ruffians. They again rushed into the room and the +unfortunate monarch was most cruelly murdered. + +Although Catherine's brave deed was not rewarded by the salvation of her +King's life, yet it was an act of self-sacrifice which places her among +the ranks of true heroines. + + + + +Casabianca + + +The Battle of the Nile was a great battle fought at sea between the +British and French in the year 1798. The famous admiral, Lord Nelson, +was in command of the British fleet, and he won a most glorious victory +in which only four French ships escaped. + +Towards the close of the battle the French Admiral's flagship, +_L'Orient_, caught fire, and blazed up with terrible brightness. Lord +Nelson immediately gave orders that the British boats should be put off +to save as many as possible of the poor sailors on the burning vessel. + +When the boats reached her side, most of the French officers accepted +the offer of safety and sprang into them. Standing upon _L'Orient's_ +deck was the little ten-year-old son of the Captain, named Casabianca, +who was the favourite of everyone on board, and as he made no attempt to +move, the British sailors shouted to him to come with them. + +"No," replied the boy; "my father told me to remain here, and not to +stir unless he called me." + +"But," cried the sailors in amazement, "your father lies mortally +wounded on deck, and the ship will soon blow up. Jump into the boat and +save yourself." + +"No," again responded the little fellow; "I must obey my father's +orders." + +As there was no time to linger, the boat put off from the ship's side. A +few minutes later the figure of Casabianca was seen in the glare of the +flames, leaning over the prostrate figure of his father. + +[Illustration: CASABIANCA ON THE BURNING SHIP] + +Soon after, a terrible explosion shook every ship in the bay, while +burning fragments of _L'Orient_ were hurled in the air, falling heavily +to the water in all directions. A dead silence followed this fearful +sound, and then the British boats rowed busily about, picking up those +who had leapt from the burning vessel in time to save their lives. In +this way about seventy were saved. But where was the brave boy, +Casabianca? Not a sign of him was to be seen. The noble lad had perished +with his father, faithful until death. + +[Illustration] + + + + +Handel, the Great Musician + + +In the small German town of Halle there once lived a barber-surgeon +named George Handel. In those days barbers were nearly always surgeons +as well, and George Handel was a very respected member of the +profession. He had a large family of sons and daughters, the youngest of +whom was called George Frederick. When quite a small child this little +fellow showed a decided taste for music. In the nursery his only toys +were trumpets, drums, flutes, and anything out of which he could get +musical sounds. As he grew older this intense love of music increased, +until it became the one great thought and pleasure of his life. Seeing +this his father was very distressed and alarmed, for he did not wish his +little son to take up music as the means of earning his living. + +At that time organists and musicians were very poorly paid, and George +Handel wanted his boy to get on well in the world. So he tried to turn +the child's mind away from all such ideas, by never allowing him to go +to any place where music was performed, and by sending every instrument +out of his house. But in spite of so much care and trouble taken, it was +impossible to destroy the strongest desire of the boy's nature. + +One night, after the household had gone to bed, Mr. Handel was awakened +by the sound of soft music stealing from an unused garret. He arose in +great surprise, and calling his wife they went to find out the cause of +these strange sounds. + +Going quietly to the garret they paused to listen outside for a few +moments, when their astonishment was increased by the beauty of the +melody which met their ears. Then, opening the door and holding up the +candle he carried, George Handel peered wonderingly into the dusty old +lumber-room. There, seated at a clavichord (an instrument something like +a piano, only much smaller), was his little son Frederick, then only six +years old. The child had coaxed one of his aunts, who was his friend and +sympathizer, to help him smuggle the clavichord into the garret, where +he taught himself to play while his parents were asleep, or out of the +house. + +The wonderful sweetness of the music, together with the earnest +entreaties of the tiny performer, softened the heart of his father to +forgiveness of his conduct. But even then the old gentleman could not be +induced to allow his son to follow the profession for which nature had +so well fitted him, as he feared he would not be able to earn his living +at it. However, it happened not long after that the Duke of +Saxe-Weissenfels heard the boy play, and was so struck by his genius +that he persuaded his parent to consent to have him properly trained. + +When once he was enabled to continue his studies under the guidance of a +good master, it did not take young Handel long to show not only his +father, but the whole world, that he was a truly great and marvellously +gifted musician. To-day his famous oratorios are played everywhere, and +people delight in them and marvel at them just as much as when they were +first produced. + +[Illustration: THE CHILD MUSICIAN] + +[Illustration: COLUMBUS ON HIS VOYAGE TO AMERICA] + + + + +The Story of Columbus + + +About four hundred years ago there lived an Italian sailor, named +Christopher Columbus. In those days people supposed that there were no +continents in the world besides Europe, Asia, and Africa, but Columbus +believed there was a great country across the ocean that had never been +discovered. He felt a burning desire to sail in search of this land, but +as he was a poor man he had not the money with which to get the +necessary ships and men. For some time he wandered from place to place +trying to induce others to help him carry out his plan, but he was only +laughed at and called a fool and a madman. At length he obtained an +interview with King Ferdinand and Queen Isabella of Spain. At first they +refused to give him any assistance, but afterwards the Queen said she +would pledge her jewels to raise the needful money. + +So in the month of August, Columbus sailed away upon his voyage of +discovery, his little fleet consisting of three small vessels. For four +weeks they sailed on over the dark and stormy waters, during which time +Columbus had much trouble with his sailors, who grumbled and complained +unceasingly. When at length they found themselves alone on the vast +unknown seas, with no sign of land, they became panic-stricken, and +implored Columbus to take them home again. He reproved them for their +want of courage. Then for a little while they showed a braver spirit, +but before long they again broke out into rebellion; but Columbus was so +strong-minded and courageous that he succeeded in quelling the mutiny. + +Thus days passed, until one night, in the middle of October, as Columbus +was walking on deck he suddenly saw a light ahead which told the +sea-weary mariners that the longed-for land must lie not far distant. +When at last dawn came it showed an island lying in the blue waters +before them. A boat was at once lowered, in which Columbus and a party +of his men landed upon the unknown shore. Groups of dark-skinned natives +crowded to the water side, gazing in fear and wonder at the strange +white men. Then, with the Spanish royal flag in one hand and his sword +in the other, he took possession of the island in the name of King +Ferdinand and Queen Isabella. Having visited other islands, Columbus +returned in triumph to Spain, where he was greeted as a hero. + +[Illustration] + + + + +Antonio Canova + + +In the sunny land of Italy, in the obscure little village of Possagno +near Venice, there once lived a little lad whose name was Antonio +Canova. As he was left an orphan at three years old he dwelt with his +grandfather, who earned his living by cutting figures and ornaments out +of stone. The old man took the greatest care of his grandson and wished +to train Antonio to become a stone-cutter too, so with this end in view +the boy was taught drawing. He soon showed great talent, and when he +began to model birds and flowers in clay, he succeeded so well that his +grandfather was both astonished and delighted. Even in his ninth year he +made two beautiful marble shrines which can be seen to this day. + +One day a nobleman called Giovanni Falieri, who was about to give a +large dinner party, asked old Canova to make him some ornament for the +table. He said he did not care what it was, but wanted something new and +uncommon. There was but little time before the date fixed for the party, +and the old stone-cutter tried in vain to think of a suitable object. +Seeing his grandfather so troubled, Antonio said to him, "I think I can +make something to please his lordship. If you will let me have some good +hard butter I will make him a butter lion." + +"That is an excellent idea," replied the old man. And he sent for the +butter at once. + +Antonio set to work, and very soon he had shaped a lion's head, with +fine flowing mane, out of the creamy mass. Then followed a beautifully +formed body and limbs. + +[Illustration: A CLEVER PUPIL] + +[Illustration: CANOVA'S BUTTER LION] + +When the animal was complete his grandfather looked at it with intense +pride and admiration, and it was carefully carried to his lordship. It +attracted a great deal of attention at the dinner party, and amid cries +of wonderment was passed from hand to hand. When the nobleman and his +guests heard that it was the work of a boy, they expressed a great +desire to see the talented young artist. Antonio was sent for, and his +lordship was so impressed with his talent that he promised to see that +he had the best masters, and that he was given every chance to succeed +in his profession. + +Giovanni Falieri nobly kept his word, and placed him as a pupil under +Bernardi, or as he is usually called Torretti, a famous Venetian +sculptor, who happened to be staying in a neighbouring village at the +time. By the aid of this kind friend, and the power of his own genius, +Antonio became a world-renowned sculptor. And not only was he a famous +sculptor, but he was even entrusted with great affairs of state. + +When the great Napoleon conquered Italy he carried off most unjustly +hundreds of priceless works of art, and when the tyrant was overthrown +the young Canova was sent as ambassador to Paris to find the whereabouts +of these works. For these and other services he was made by the Pope +Marquis of Ischia, and given a pension of 3000 scudi. But Canova was +very good and generous and he devoted all this pension for the relief of +his poor brother artists. Thus the little figure of the butter lion +proved to be the stepping-stone to fame. + +[Illustration] + + + + +Damon and Pythias + + +The city of Syracuse was once ruled over by a clever but very cruel man +called Dionysius. Perhaps he would not have been so harsh and cruel if +he had been able to trust his people; but he knew that the Syracusans +hated him. It happened that he once suspected a certain Greek called +Pythias, and his anger was so terrible that he sentenced the unfortunate +man to death. Pythias begged to be allowed to go and bid his relations +in the country farewell, promising to return at a given time to suffer +the death to which he had been condemned. Dionysius laughed his request +to scorn, saying that once he was safely out of Syracuse it was not +likely he would ever return to die. Pythias replied that he had a +friend, named Damon, who would be answerable for his return at the +given time. Damon then came forward and swore that if Pythias did not +keep his word, he himself would suffer death in his stead. Dionysius +consented to let Pythias go. + +Time went on and the day fixed for his return drew near, but still he +did not come. The Syracusans told Damon that he would have to die for +his faithless friend, but Damon showed no anxiety. At length the very +day and hour upon which the condemned man was to die came round. But a +few minutes before the fatal time Pythias rushed in, and having warmly +embraced his friend, he went forward to take his place. Dionysius was so +struck by the conduct of the two men that he pardoned Pythias, and +calling him and Damon to his side he entreated them to allow him to be a +third in their friendship. + +[Illustration] + +[Illustration: CHARLEMAGNE AND THE CHARCOAL BURNER] + + + + +Charlemagne and the Charcoal-burner + + +Once the noble Charlemagne, King of the Franks, was riding across a +lonely moor with some of his courtiers, when they were overtaken by a +terrific storm. It became so dark that the party lost sight of one +another, and the King found himself alone in the tempest of wind and +rain. As he struggled on he met a poor man leading a horse with two +great baskets upon its back. + +"What is your name, friend?" enquired Charlemagne. + +"I am Ralph, the charcoal-burner," replied the man. + +"Can you tell me where I can find shelter for my horse and myself?" +asked the King. + +"If you care to come with me to my cottage you will be very welcome," +answered Ralph. + +The King was only too glad to accompany the man to his house in the +forest. When they reached the door the charcoal-burner called to his +wife to hasten to let them in. Ralph stood aside for his companion to +pass in first, but Charlemagne hung back behind. Seeing this the man +took him by the neck and pushed him in the house, saying, "It is only +right that my guest should enter first." + +When supper was ready the charcoal-burner bade King Charlemagne go to +the table before him. But again His Majesty held back. Then Ralph gave +his visitor such a sound box on the ear that he staggered and fell. + +"Why will you not do as I bid you?" he cried angrily. + +"These are strange doings indeed," said the King to himself, as he rose +from the ground. + +"Now tell me who you are, and where you live?" said the peasant to his +royal guest. + +"My name is Uzmond, and I live at Court, where I have an office with the +Queen," replied Charlemagne. + +Early the next morning, Charlemagne before starting offered to pay Ralph +for his food and lodging, but the man refused to take payment for +sheltering one who belonged to the Court of the noble King of France. + +"So be it," answered His Majesty. "But if you will not let me pay you, +come to the Court with a load of coals and I will see that you sell your +goods." + +"That will I do," answered Ralph. + +The following day Ralph loaded his mare with two large baskets of coal +and set off to Court. When he arrived there he asked for one Uzmond, but +no one knew of such a person. The King had given orders that he should +be admitted into the Palace, and at length he came to a splendid hall, +where Charlemagne sat at dinner with his nobles. The poor +charcoal-burner at once pointed at His Majesty, exclaiming, "See, there +sits Uzmond, but truly he must be a greater man than he said!" + +At this His Majesty burst into a loud laugh, and rising from his seat he +told the whole company how he had fared at Ralph's cottage. The lords +all laughed heartily, but some of them would have had Ralph punished for +having boxed the King's ears. + +"Nay," said Charlemagne, "Heaven forbid I should harm him. He is an +honest man who can strike a hard blow, and I shall make him a knight +instead." + +[Illustration: THE CHARCOAL BURNER AT THE PALACE] + + * * * * * + +Transcriber's Note: The original did not have a List of Stories, one was +added to this version. + + + + + +End of the Project Gutenberg EBook of Golden Deeds, by Anonymous + +*** END OF THIS PROJECT GUTENBERG EBOOK GOLDEN DEEDS *** + +***** This file should be named 25476.txt or 25476.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/5/4/7/25476/ + +Produced by Delphine Lettau, Emmy and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +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/25476.zip b/25476.zip Binary files differnew file mode 100644 index 0000000..ace8e4a --- /dev/null +++ b/25476.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..d2a8d14 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #25476 (https://www.gutenberg.org/ebooks/25476) |
