initial commit of ebook 27534HEADmain

124 files changed, 8851 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/27534-0.txt b/27534-0.txt
new file mode 100644
index 0000000..aca362b
--- /dev/null
+++ b/27534-0.txt
@@ -0,0 +1,2119 @@
+Project Gutenberg's Cobwebs from a Library Corner, by John Kendrick Bangs
+
+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: Cobwebs from a Library Corner
+
+Author: John Kendrick Bangs
+
+Release Date: December 14, 2008 [EBook #27534]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+These verses of Mr. Bangs’s have appeared from time to time in the
+various Harper Periodicals, and elsewhere.
+
+
+[Illustration: OUT IN THE COLD]
+
+
+
+
+COBWEBS FROM A LIBRARY CORNER
+
+
+By
+
+
+John Kendrick Bangs
+
+
+
+NEW YORK AND LONDON
+
+HARPER & BROTHERS
+
+MDCCCXCIX
+
+
+
+Copyright, 1899, by HARPER & BROTHERS.
+
+All rights reserved.
+
+
+
+
+TO
+SISTER ANNE
+
+
+
+
+CONTENTS
+
+
+BOOKISH
+
+  A PESSIMISTIC VIEW
+  THE MASTER’S PEN—A CONFESSION
+  BOOKWORM BALLADS (A LITERARY FEAST)
+  IDEAS FOR SALE
+  THE AUTHOR’S BOOMERANG
+  TO AN EGOTISTICAL BIOGRAPHER
+  NO COPYRIGHT NEEDED
+  INGREDIENTS OF GREATNESS
+  A COMMON FAVORITE
+  THEIR PENS
+  AN UNSOLVED PROBLEM
+  THE BIBLIOPHILE’S THREAT
+  MY TREASURES
+  A POET’S FAD
+  THE POET UNDONE
+  A WANING MUSE
+  MODESTY
+  MY LORD THE BOOK
+  THE BIBLIOMISER
+  THE “COLLECTOR”
+  A READER
+  FATE!
+  A PLEASING THOUGHT
+  BOOKS _vs._ “BOOKS,” BY A BIBLIOMANIAC
+  A CONFESSION
+  THE EDITION DE LOOKS
+
+
+WISE AND OTHERWISE
+
+  NAPOLINI’S ERROR
+  MY COLOR
+  CONTENTMENT IN NATURE
+  THE HEROIC GUNNER
+  THE PATHETIC TALE OF THE CADDY BOY
+  GARRULOUS WISDOM
+  THE PERJURY OF A REJECTED LOVER
+  MAID OF CULTURE
+  NOT PERFECT
+  A CITY DWELLER’S WISH
+  WHERE ARE THEY?
+  MEMORIES
+  A SAD STATE
+  AD ASTRA PER OTIUM.
+  CONSOLATION
+  SATISFACTION ON READING “NOT ONE DISSATISFIED,” BY WALT WHITMAN
+  TO A WITHERED ROSE
+  THE WORST OF ENEMIES
+  JOKES OF THE NIGHT
+  AN AUTUMNAL ROMANCE
+  THE COUNTRY IN JULY
+  MAY 30, 1893
+  THE CURSE OF WEALTH
+  THE RHYME OF THE ANCIENT POPULIST
+  ONE OF THE NAMELESS GREAT
+  IN FEBRUARY DAYS
+  A CHANGE OF AMBITION
+  MESSAGE FROM MAHATMAS
+  THE GOLD-SEEKERS
+  ODE TO A POLITICIAN
+  SOME ARE AMATEURS
+
+
+
+
+BOOKISH
+
+
+
+
+_A PESSIMISTIC VIEW_
+
+
+  A LITTLE bit of Thackeray,
+    A little bit of Scott,
+  A modicum of Dickens just
+    To tangle up the plot,
+  A paraphrase of Marryat,
+    Another from Dumas—
+  You ask me for a novel, sir,
+    And I say, there you are.
+
+  The pen is greater than the sword,
+    Of that there is no doubt.
+  The pen for me whene’er I wish
+    An enemy to rout.
+  A pen, a pad, and say a pint
+    Of ink with which to scrawl,
+  To put a foe to flight is all
+    That’s needed—truly all.
+
+  But when it comes to making up
+    A novel in these days
+  You do not need a pen at all
+    To win the writer’s bays.
+  A pair of sharpened scissors and
+    A wealth of pure white page
+  Will do it if you have at hand
+    A pot of mucilage.
+
+  So give to me the scissors keen,
+    And give to me the glue,
+  And I will fix a novel up
+    That’s sure to startle you.
+  The good ideas have all been worked,
+    But while we’ve gum and paste
+  There shall be books and books and books
+    To please the public taste.
+
+
+
+
+_THE MASTER’S PEN—A CONFESSION_
+
+
+  IN my collection famed of curios
+  I have, as every bookman knows,
+  A pen that Thackeray once used.
+        To be amused,
+  I thought I’d “take that pen in hand,”
+  And see what came of it—what grand
+  Inspired lines ’twould write,
+        One Sunday night.
+  I dipped it in the ink,
+  And tried to think,
+        “Just what shall I indite?”
+  And do you know, that pen went fairly mad;
+  A dreadful time with it I had.
+  It spluttered, spattered, scratched, and blotted so,
+  I had to give it up, you know.
+  It really wouldn’t work for me,
+  And so I put it down; but last night, after tea,
+  I took it up again,
+  And equally in vain.
+        The hours sped;
+        I went to bed,
+  And in my dreams the pen came up to me and said:
+  “Here is the list of Asses who have tried
+  To take up pens the master laid aside;
+  Look thou!” I looked, and lo!—perhaps you’ve guessed—
+  My name, like Abou Ben’s, led all the rest!
+
+
+
+
+_BOOKWORM BALLADS_
+
+A LITERARY FEAST
+
+
+  MY Bookworm gave a dinner to a number of his set.
+  I was not there—I say it to my very great regret.
+  For they dined well, I fancy, if the menu that I saw
+  Was followed as implicitly as one obeys the law.
+
+  “’Twill open,” he observed to me, “with quatrains on the half.
+  They go down easy; then for soup”—it really made me laugh—
+  “The poems of old Johnny Gay”—his words were rather rough—
+  “They’ll do quite well, for, after all, soup’s thin and sloppy stuff.
+
+  “For fish, old Izaak Walton; and to serve as an _entrée_,
+  I think some fixed-up morsel, say from James, or from Daudet;
+  The roast will be Charles Kingsley—there’s a deal of beef in him.
+  For sherbet, T. B. Aldrich is just suited to my whim.
+
+  “For game I’ll have Boccaccio—he’s quite the proper one;
+  He certainly is gamey, and a trifle underdone;
+  And for the salad, Addison, so fresh and crisp is he,
+  With just a touch of Pope to give a tang to him, you see.
+
+  “And then for cheese, Max Nordau, for I think you’ll find right there
+  Some things as strong and mushy as the best of Camembert;
+  And for dessert let Thackeray and O. Khayyám be brought,
+  The which completes a dinner of most wondrous richness fraught.
+
+  “For olives and for almonds we can take the jokes of _Punch_—
+  They’re good enough for us, I think, to casually munch;
+  And through it all we’ll quaff the wines that flow forever clear
+  From Avon’s vineyards in the heart of Will of Warwickshire.”
+
+
+
+
+_IDEAS FOR SALE_
+
+
+  I’M in literary culture, and I’ve opened up a shop,
+  Where I’d like ye, gents and ladies, if you’re passing by to stop.
+  Come and see my rich assortment of fine literary seed
+  That I’m selling to the writers of full many a modern screed.
+
+  I’ve bacilli for ten volumes for a dollar, in a bag—
+  Not a single germ among ’em that’s been ever known to drag.
+  Not a single germ among ’em, if you see they’re planted right,
+  But will grow into a novel that they’ll say is out of sight.
+
+  I have motifs by the thousand, motifs sad and motifs gay.
+  You can buy ’em by the dozen, or I’ll serve ’em every day:
+  I will serve ’em in the morning, as the milkman serves his wares;
+  I will serve ’em by the postman, or I’ll leave ’em on your stairs.
+
+  When you get down to your table with your head a vacuum,
+  You can say unto your helpmeet, “Has that quart of ideas come
+  That we ordered served here daily from that plot-man down the street?”
+  And you’ll find that I’ve been early my engagement to complete.
+
+  Should you want a book of poems that will bring you into fame,
+  Let me send a sample packet that will guarantee the same,
+  Holding “Seeds of Thought from Byron, Herrick, Chaucer, Tennyson.”
+  Plant ’em deep, and keep ’em watered, and you’ll find the deed is done.
+
+  I’ve a hundred comic packets that would make a Twain of Job;
+  I have “Seeds of Tales Narcotic; Tales of Surgeons and the Probe.”
+  I’ve a most superb assortment, on the very cheapest terms,
+  Done up carefully in tin-foil, of my A 1 “Trilby Germs.”
+
+  So perchance if you’re ambitious in a literary line,
+  Be as dull as e’er you can be, you will surely cut a shine,
+  If you’ll only take advantage of this opportunity,
+  When you’re passing by to stop in for a little chat with me.
+
+  You may ask me, in conclusion, why I do not seek myself
+  All the laurel and the glory of these seeds I sell for pelf.
+  I will tell you, though the confidence I can’t deny is rash,
+  I’m a trifle long on laurels, and a little short of cash.
+
+
+
+
+_THE AUTHOR’S BOOMERANG_
+
+
+  HE frowns with reason; he has always said,
+    “The public has no knowledge of true art;
+  The book of worth these days would not be read;
+    ’Tis trash not truth that goes upon the mart.”
+
+  And then was published his belovéd work—
+    Some twenty-six editions it has had—
+  And he his own conclusion cannot shirk:
+    With such success as this it must be bad!
+
+
+
+
+_TO AN EGOTISTICAL BIOGRAPHER_
+
+
+  I’VE read your story of your friend’s fine life,
+    But really, gentle sir, I fail to see,
+  Why you have named it “Blank, and Jane his wife,”
+    When you had better called it simply “Me.”
+
+
+
+
+_NO COPYRIGHT NEEDED_
+
+
+  I’VE penned a score of essays bright,
+    In Addison’s best style;
+  I’ve taken many a lofty flight,
+    The Muses to beguile.
+
+  Of novels I have written few—
+    I think no more than ten;
+  With history I’ve had to do,
+    Like several other men.
+
+  And still, to my intense regret,
+    Through all my woe and weal,
+  I’ve never penned a volume yet,
+    A foreigner would steal.
+
+
+
+
+_INGREDIENTS OF GREATNESS_
+
+
+  THE style of man I’d like to be,
+    If I could have my way,
+  Would be a sort of pot-pourri
+    Of Poe and Thackeray;
+
+  Of Horace, Edison, and Lamb;
+    Of Keats and Washington,
+  Gérôme and blest Omar Khayyám,
+    And R. L. Stevenson;
+
+  Of Kipling and the Bard of Thrums,
+    And Bonaparte the great—
+  If I were these, I’d snap my thumbs
+    Derisively at Fate.
+
+
+
+
+_A COMMON FAVORITE_
+
+
+  CHARLES LAMB is good, and so is Thackeray,
+  And so’s Jane Austen in her pretty way;
+  Charles Dickens, too, has pleased me quite a lot,
+  As also have both Stevenson and Scott.
+  I like Dumas and Balzac, and I think
+  Lord Byron quite a dab at spreading ink;
+  But on the whole, at home, across the sea,
+  The author I like best is Mr. Me.
+
+  A “first” of Elia filled my soul with joy.
+  A Meredith de luxe held no alloy.
+  And when I found _Pendennis_ in the parts
+  A throb of gladness stirred my heart of hearts.
+  A richly pictured set of Avon’s bard
+  Upon my liking bounded pretty hard;
+  But none brought out that cloying sense of glee
+  That came from that first book by Mr. Me.
+
+  And so I beg you join me in the toast
+  To him that I confess I love the most.
+  He does not always do his level best,
+  But no one lives who can survive that test.
+  His work is queer, and some folks call it bad,
+  And some aver ’tis but a passing fad;
+  But I don’t care, the fact remains that he
+  Has won my admiration—dear old Me.
+
+
+
+
+_THEIR PENS_
+
+
+  THE poet pens his odes and sonnets spruce
+  With quills plucked from the ordinary goose,
+  While critics write their sharp incisive lines
+  With quills snatched from the fretful porcupines.
+
+
+
+
+_AN UNSOLVED PROBLEM_
+
+
+  IF Bacon wrote those grand inspiring lines
+    At which alternately man weeps and laughs,
+  Who was it penned those chirographic vines
+    We know these times as Shakespeare’s autographs?
+
+
+
+
+_THE BIBLIOPHILE’S THREAT_
+
+
+  IF some one does not speedily indite
+    A volume that is worthy of my shelf,
+  I’ll have to buy materials and write
+    A novel and some poetry myself.
+
+
+
+
+_MY TREASURES_
+
+
+  MY library o’erflows with treasures rare:
+    Of “Dickens’ firsts,” a full, unbroken set;
+  And in a little nooklet off the stair
+    The whole edition of my novelette.
+
+
+
+
+_A POET’S FAD_
+
+
+  HE writes bad verse on principle,
+    E’en though it does not sell.
+  He thinks the plan original—
+    So many folk write well.
+
+
+
+
+_THE POET UNDONE_
+
+
+  HE was a poet born, but unkind Fate
+    Once doomed him for his verses to be paid,
+  Whereon he left the poet-born’s estate
+    And wrote like one who’d happened to be made.
+
+
+
+
+_A WANING MUSE_
+
+
+  “WHY art thou sad, Poeticus?” said I.
+    So blue was he I feared he would not speak.
+  “Alas! I’ve lost my grip,” was his reply—
+    “I’ve writ but forty poems, sir, this week.”
+
+
+
+
+_MODESTY_
+
+
+  “WHAT hundred books are best, think you?” I said,
+    Addressing one devoted to the pen.
+  He thought a moment, then he raised his head:
+    “I hardly know—I’ve written only ten.”
+
+
+
+
+_MY LORD THE BOOK_
+
+
+  A BOOK is an aristocrat:
+    ’Tis pampered—lives in state;
+  Stands on a shelf, with naught whereat
+    To worry—lovely fate!
+
+  Enjoys the best of company;
+    And often—ay, ’tis so—
+  Like much in aristocracy,
+    Its title makes it go.
+
+
+
+
+_THE BIBLIOMISER_
+
+
+  HE does not read at all, yet he doth hoard
+  Rich books. In exile on his shelves they’re stored;
+  And many a volume, sweet and good and true,
+  Fails in the work that it was made to do.
+  Why, e’en the dust they’ve caught since he began
+  Would quite suffice to make a decent man!
+
+
+
+
+_THE “COLLECTOR”_
+
+
+  I GOT a tome to-day, and I was glad to strike it,
+  Because no other man can ever get one like it.
+  ’Tis poor, and badly print; its meaning’s Greek;
+  But what of that? ’Tis mine, and it’s unique.
+    So Bah! to others,
+    Men and brothers—
+    Bah! and likewise Pooh!
+    I’ve got the best of you.
+    Go sicken, die, and eke repine.
+    That book you wanted—Gad! that’s mine!
+
+
+
+
+_A READER_
+
+
+  DAUDET to him is e’er Dodett;
+    Dumas he calls Dumass;
+  But prithee do not you forget
+    He’s not at all an ass;
+
+  Because the books that he doth buy,
+    That on his shelf do stand,
+  Hold not one page his eagle eye
+    Hath not completely scanned.
+
+  And while this man’s orthoepy
+    May not be what it should,
+  He knows what books contain, and he
+    “Can quote ’em pretty good.”
+
+
+
+
+_FATE!_
+
+
+  I FEEL that I am quite as smart
+  As Edward Bulwer Lytton, Bart.
+
+  I’m also every bit as bright
+  As Walter Scott, the Scottish knight;
+
+  And in my own peculiar way
+  I’m just as good as Thackeray.
+
+  But, woe is me that it should be,
+  They got here years ahead of me,
+
+  And all the tales I would unfold
+  By them already have been told.
+
+
+
+
+_A PLEASING THOUGHT_
+
+
+  THEY speak most truly who do say
+  We have no writing-folk to-day
+  Like those whose names, in days gone by,
+  Upon the scroll of fame stood high.
+  And when I think of Smollett’s tales,
+  Of waspish Pope’s ill-natured rails,
+  Of Fielding dull, of Sterne too free,
+  Of Swift’s uncurbed indecency,
+  Of Dr. Johnson’s bludgeon-wit,
+  I must confess I’m glad of it!
+
+
+
+
+_BOOKS vs. “BOOKS”_
+
+BY A BIBLIOMANIAC
+
+
+  A VOLUME’S just received on vellum print.
+  The book is worth the vellum—no more in’t.
+  But, as I search my head for thoughts, I find
+  One fact embedded firmly in my mind.
+
+  That’s this, in short: while it no doubt may be
+  Most pleasant for an author small to see
+  A fine edition of his work put out,
+  No man who’s sane can ever really doubt
+
+  That products of his brain and pen can live
+  Alone for that which they may haply give!
+  And though on vellum stiff the work appears,
+  It cannot live throughout the after-years,
+
+  Unless it has within its leaves some hint
+  Of something further than the style of print
+  And paper—give me Omar on mere waste,
+  I’ll choose it rather than some “bookish taste,”
+
+  Expended on a flimsy, whimsey tale,
+  Put out to catch a whimsey, flimsy sale.
+  I’d choose my Omar print on grocer’s wraps
+  Before the vellum books of “bookish” chaps.
+
+
+
+
+_A CONFESSION_
+
+
+  MY epic verse, my pet production, which I deemed
+    Sufficient to advance me to the highest peak
+  Of difficult Parnassus, goal of which I’ve dreamed
+    For many a weary year, came back to me last week.
+  The Editor I cursed, that he should stand between
+    My dear ambition and my scarcely dearer self;
+  Whose unappreciation forced to blush unseen
+    My one dear book, to gather dust upon my shelf.
+  That night in sleep an Angel fair came to my side,
+    And in her hand she held a scroll; in lines of flame
+  The name of him I’d cursed was writ; and when I cried,
+    “What portent this?” the rare celestial dame
+                                                 Replied:
+  “Read here, O Ingrate base, the name of him thou’st cursed.
+  The very man of all men who should be the first
+  Thy love and lasting gratitude to know, since he
+  Still leaves the path Parnassian open unto thee—
+  A path which thou with halting rhyme, most ill composed,
+  Against thyself hast sought to keep forever closed.
+  _Read thou thy lines again!_”
+                                Ah! bitter was the cup.
+  I read, withdrew the curse—and tore the epic up.
+
+
+
+
+_THE EDITION DE LOOKS_
+
+
+  How very close to truth these bookish men
+  Can be when in their catalogues they pen
+
+  The words descriptive of the wares they hold
+  To tempt the book-man with his purse of gold!
+
+  For instance, they have Dryden—splendid set—
+  Which some poor wight would part with wealth to get.
+
+  ’Tis richly bound, its edges gilded—but—
+  Hard fate—as Dryden well deserves—_uncut_!
+
+  For who these days would think to buy the screed
+  Of dull old dusty Dryden just to read?
+
+  In faith if his editions had been kept
+  Amongst the rarities he’d ne’er have crept!
+
+  And then those pompous, overwhelming tomes
+  You find so oft in overwhelming homes,
+
+  No substance on a Whatman surface placed,
+  In polished leather and in tooling cased,
+
+  The gilded edges dazzling to the eye
+  And flaunting all their charms so wantonly.
+
+  These book-men, when they catalogue their books,
+  Call them in truth _édition de luxe_.
+
+  That’s all they have, most of ’em, just plain shape,
+  With less pure wine than any unripe grape.
+
+  But tomes that travel on their “looks” indeed
+  Are only good for those who do not read;
+
+  And, like most people clad in garments grand,
+  Seem rather heavy for the average hand.
+
+
+
+
+WISE AND OTHERWISE
+
+
+
+
+_NAPOLINI’S ERROR_
+
+
+  PIETRO NAPOLINI DI VENDETTA PASQUARELLE
+  Deserted balmy Italy, the land that loved him well,
+  And sailed for soft America, of wealth the very fount,
+  To earn sufficient dollars there to make himself a count.
+  Alas for poor Pietro! he arrived in winter-time,
+  And marvelled at the poet who observed in tripping rhyme
+  How this New World was genial, and a sunny sort of clime.
+
+  No chance had he for music that’s developed by a crank,
+  No chance had he at sculpture, nor a penny in the bank.
+  The pea-nut trade was languid, and for him too full of risk;
+  He thought the work on railways for his blood was rather brisk.
+  The sole profession left him to assuage his stomach’s woe,
+  It struck him in meandering the city to and fro,
+  Was surely that of shovelling away the rich man’s snow.
+
+  And then P. Napolini di Vendetta Pasquarelle
+  Sought out a city thoroughfare, the swellest of the swell.
+  He stole a shovel, and he found a broom he thought would do,
+  Then rang the massive front-door bell of Stuyvesant Depew.
+  “I wanta shov’ da snow,” he said, when there at last appeared
+  Fitzjohn Augustus Higgins, who in Birmingham was reared,
+  A man by all in low estate much hated and much feared.
+
+  “Go wi,” said Fitz, with gesture bold. “Yer cahn’t do nothink ere,
+  Yer bloomin’, hugly furriner!” he added, with a sneer.
+  “Hi thinks as ’ow you dagoes is the cuss o’ this ’ere land,
+  With wuthy citizens like me ’most starved on every ’and.
+  Hi vows hif I’d me wi at all hi’d order hout a troop,
+  Hand send the bloomin’ lot o’ yer ’ead over ’eels in soup.
+  Git hout, yer nahsty grabber yer; hewacuate the stoop.”
+
+  Then when the snow had melted off, Fitzjohn Augustus went
+  And humbly asked his master for two dollars that he’d spent
+  In paying Napolini di Vendetta Pasquarelle;
+  While Nap went back to Italy, the land that loved him well,
+  Convinced that when he sailed that time his country to forsake,
+  He must have got aboard the ship when he was half awake,
+  And got to London, not New York, by some most odd mistake.
+
+
+
+
+_MY COLOR_
+
+
+  MY best-loved color? Well, I think I like
+    A soft and tender dewy green—for grass.
+  Sometimes a pink my fancy too will strike—
+    In lobster _purée_ or a Sauterne glass.
+
+  Blue is a color, too, I greatly love.
+    It’s sort of satisfying to my eyes.
+  ’Tis their own color; and I’m quite fond of
+    This hue also for soft Italian skies.
+
+  For blushes, give me red, nor hesitate
+    To pile it on; I like it good and strong
+  Upon the cheeks of her I call my Fate,
+    The loveliest of all the lovely throng.
+
+  On golden-yellow oft my fancy dwells.
+    ’Tis almost godlike, as it sparkles through
+  The effervescent fizz; and wondrous spells
+    It casts o’er me when coined in dollars, too.
+
+  Hence, friend, it is I cannot specify
+    What hues particular my joys enhance.
+  I like them all; their popularity
+    At special times depends on circumstance.
+
+
+
+
+_CONTENTMENT IN NATURE_
+
+
+  I WOULD not change my joys for those
+    Of Emperors and Kings.
+  What has my gentle friend the rose
+  Told them, if aught, do you suppose—
+    The rose that tells me things?
+
+  What secrets have they had with trees?
+    What romps with grassy spears?
+  What know they of the mysteries
+  Of butterflies and honey-bees,
+    Who whisper in my ears?
+
+  What says the sunbeam unto them?
+    What tales have brooklets told?
+  Is there within their diadem
+  A single rival to the gem
+    The dewy daisies hold?
+
+  What sympathy have they with birds
+    Whose songs are songs of mine?
+  Do they e’er hear, as though in words
+  ’Twas lisped, the message of the herds
+    Of grazing, lowing kine?
+
+  Ah no! Give me no lofty throne,
+    But just what Nature yields.
+  Let me but wander on, alone
+  If need be, so that all my own
+    Are woods and dales and fields.
+
+
+
+
+_THE HEROIC GUNNER_
+
+    When the order was given to withdraw from battle for breakfast,
+    one of the gun-captains, a privileged character, begged
+    Commodore Dewey to let them keep on fighting until “we’ve wiped
+    ’em out.”—_War Anecdote in Daily Paper._
+
+
+  AT the battle of Manila,
+    In the un-Pacific sea,
+  Stood a gunner with his mad up
+    Just as far as it could be—
+  Stood a gunner brave and ready
+    For the hated enemy.
+
+  Near the Isles of Philopena
+    Raged the battle all the morn,
+  And the plucky Spanish sailors
+    By the shot and shell were torn;
+  And the flag that floated o’er them
+    To oblivion was borne.
+
+  Every cannon belched projectiles,
+    Every cannon breathed forth hell,
+  Every cannon mowed the foeman
+    From the deck into the swell,
+  When amid the din of battle
+    Rang the silvery breakfast-bell.
+
+  “Stop your shooting! Come to breakfast!”
+    Cried the gallant Commodore.
+  “After eating we will let them
+    Have a rousing old encore.
+  Stow your lanyards, O my Jackies;
+    Let the cannon cease to roar.”
+
+  Then upspake the fighting gunner:
+    “Dewey, don’t, I beg of you.
+  What’s the use of drinking coffee
+    Till we’ve put this scrimmage through?
+  If there’s any one who’s hungry,
+    Won’t this Spanish omelet do?
+
+  “Farragut would not have done it
+    When through Mobile Bay he sped.
+  Why then, Dewey, should we breakfast
+    Till we’ve plunked ’em full of lead?
+  Let our motto be as his was—
+    _Damn the fishballs! Go ahead!_”
+
+
+
+
+_THE PATHETIC TALE OF THE CADDY BOY_
+
+
+  “COME here,” said I, “oh caddy boy, and tell me how it haps
+  You cling so fast unto these links; not like the other chaps,
+  Who like to dally on the streets and play the game of craps?
+
+  “Is it that you enjoy the work of carrying a bag
+  While others speed the festive ball o’er valley, hill, and crag?
+  And do your spirits never seem to falter or to flag?
+
+  “I’ve watched you many a day, my lad, and puzzled o’er the fact
+  That you are so attentive to the game; your every act
+  Doth indicate perfection—there’s been nothing you have lacked.
+
+  “And I would know just why it is that you so perfect seem—
+  In all my golfing days you’ve been the very brightest gleam—
+  Or am I lying home in bed and are you just a dream?”
+
+  “Oh, sir,” said he, “I caddy here because I love my pa;
+  I cling unto these gladsome links because I love my ma;
+  In short, I love my parents, sir, and these my reasons are:
+
+  “’Twas but a year ago, good sir, when first this ancient sport
+  Came in the portals of our home—home of the sweetest sort;
+  When golf came through the window, sir, why home went through the port.
+
+  “My father first he took it up, and many a weary night
+  My mother with us children waited up by candle-light,
+  In hopes that he’d return and free us from our lonely plight.
+
+  “Then mother she went after him—alas! that it should be—
+  And shortly learned the game herself—she plays it famously—
+  Which left us children orphans, I and all my brothers three.
+
+  “They play it here, they play it there, they play it everywhere;
+  No matter what the weather, be it wet or be it fair,
+  And for the cares of golf they’ve dropped their every other care.
+
+  “And so it is that we poor lads are forced to leave our home,
+  And join the ranks of caddy boys who o’er the fields do roam
+  In search of little golf-balls in the sunlight and the gloam;
+
+  “For some day we are hoping that our eyes again will see
+  Our most beloved parents on some putting-green or tee;
+  A sight to gladden all our hearts if it should ever be.”
+
+  And lo—I looked upon that boy—his face was sweet and sad,
+  And to my heart there came a twinge, for in that little lad
+  I recognized my eldest son—_I_ was that wicked dad!
+
+  And now together we are out on links at home and far.
+  He and his three small brothers with their shamed, repentant pa,
+  A-looking here and looking there to find their dear mamma.
+
+
+
+
+_GARRULOUS WISDOM_
+
+
+  I KNOW a wondrous man—my neighbor he;
+    He’s ripe in years, and great in understanding.
+  He’s versed in art, and in philosophy
+    He shows a mind that’s verily commanding.
+
+  He’ll stand before a painting, and without
+    A single instant’s thought, or hesitation,
+  He’ll tell the painter’s name, nor any doubt
+    Is there he gives the proper information.
+
+  The rocks, the hills and valleys, hold from him
+    No secret that is past a man’s revealing.
+  He knows why some are stout and others slim;
+    He comprehends all kinds of human feeling.
+
+  The records of the stars he knows, and each
+    Romance that round about the heavens lingers.
+  At dinner-time he oft delights to preach
+    On which was made the first, or forks or fingers.
+
+  Indeed, all things he knows, or high or low—
+    The things that fly on wing, or go a-walking—
+  Except one thing he never seems to know,
+    And that’s when he should stop his endless talking.
+
+
+
+
+_THE PERJURY OF A REJECTED LOVER_
+
+
+  WHEN I was twenty-one, I swore,
+    If I should ever wed,
+  The maiden that I should adore
+    Should have a classic head;
+  Should have a form quite Junoesque;
+    A manner full of grace;
+  A wealth of hirsute picturesque
+    Above a piquant face.
+
+  But I, alas! am perjured, for
+    I’ve wed a dumpy lass
+  I much despised in days of yore,
+    Of quite the plainest class,
+  Because each maiden of my dream,
+    Whose favor I did seek,
+  Was so opposed unto my scheme
+    I married Jane in pique.
+
+
+
+
+_MAID OF CULTURE_
+
+
+  MAID of culture, ere we part,
+  Since we’ve talked of letters, art,
+  Science, faith, and hypnotism,
+  And ’most every other ism,
+  When you wrote, a while ago,
+  Ζώη μοῦ, σὰς ἀγαπώ,
+
+  Let me tell you this, my dear:
+  Though your lettering was clear,
+  Though the ancient sages Greek
+  Would be glad to hear you speak,
+  They would be replete with woe
+  At your μοῦ, σὰς ἀγαπώ.
+
+  For, dear maiden most astute,
+  You have placed the mark acute
+  O’er omega. Take your specs.
+  See? It should be circumflex.
+  Still I love you, even though
+  You have written ἀγαπώ.
+
+
+
+
+_NOT PERFECT_
+
+
+  HER eyes are blue—a lovely hue
+    For eyes; her cheeks are pink,
+  And for the cheek, ’twixt me and you,
+    That color’s right, I think.
+
+  Her fingers taper prettily,
+    Her teeth are white as pearls—
+  Her hands seem softer far to me
+    Than any other girl’s.
+
+  Her figure’s trim—it is petite—
+    I like them just that way,
+  And truly, maiden half so sweet
+    You’d not find every day.
+
+  And yet, alas! she’s not my choice,
+    This creature of my rhyme—
+  Because her soft and rich-toned voice
+    Is going all the time.
+
+
+
+
+_A CITY DWELLER’S WISH_
+
+
+  I LOVE the leaf of the old oak-tree,
+    I love the gum of the spruce,
+  I love the bark of the hickory,
+    And I love the maple’s juice.
+
+  On the walnut’s grain I fondly dote,
+    On the cherry’s fruit I’d dine,
+  And I love to lie in a narrow boat,
+    And scent the odor of pine.
+
+  Ah, me! how I wish some power grand
+    Would invent some single tree
+  With all these points well developed, and
+    Would send that tree to me!
+
+  I’d plant it deep in the jardinière
+    That stands in this flat of mine;
+  I’d give it the sweetest, tenderest care,
+    And water its roots with wine.
+
+
+
+
+_WHERE ARE THEY?_
+
+
+  WHAT has become of the cast-off coats
+    That covered Will Shakespeare’s back?
+  What has become of the old row-boats
+    Of Kidd and his pirate pack?
+
+  Where are the scarfs that Lord Byron wore?
+    Where are poor Shelley’s cuffs?
+  What has become of that wondrous store
+    Of Queen Elizabeth’s ruffs?
+
+  Where are the slippers of Ferdinand?
+    Where are Marc Antony’s clothes?
+  Where are the gloves from Antoinette’s hand?
+    Where Oliver Goldsmith’s hose?
+
+  I do not search for the ships of Tyre—
+    The grave of Whittington’s cat
+  Would sooner set my spirit on fire—
+    Or even Beau Brummel’s hat.
+
+  And when I reflect that there are spots
+    In the world that I can’t find,
+  Where lie these same identical lots,
+    And many of this same kind,
+
+  I’m tempted to give a store of gold
+    To him that will bring to me
+  A glass, Earth’s mysteries to unfold,
+    And show me where these things be.
+
+
+
+
+_MEMORIES_
+
+
+  YON maiden once a jester did adore,
+    Who early died and in the church-yard sleeps.
+  Once in a while she reads his best jokes o’er
+    And sits her down and madly, sorely weeps.
+
+
+
+
+_A SAD STATE_
+
+
+  I KNOW a man in Real Estate,
+    Whose pride of self’s sublime.
+  He’d like to be a poet great
+    But “can’t afford the time.”
+
+
+
+
+_AD ASTRA PER OTIUM_
+
+
+  AS I read over old John Dryden’s verse,
+    The rhymes of men like William Blake, and Gay,
+  The stuff that helped fill Edmund Waller’s purse,
+    And that which placed on Marvell’s brow the bay,
+
+  It doth appear to me that in those times
+    The Muses quaffed not sparkling wine, but grog,
+  And that to grow immortal through one’s rhymes
+    Was ’bout as hard as falling off a log.
+
+
+
+
+_CONSOLATION_
+
+
+  SHAKESPEARE was not accounted great
+  When good Queen Bess ruled England’s state,
+  So why should I to-day repine
+  Because the laurel is not mine?
+
+  Perhaps in twenty-ninety-three
+  Folks will begin to talk of me,
+  And somewhere statues may be built
+  Of me, in bronze, perhaps in gilt,
+
+  And sages full of quips and quirks
+  Will wonder if I wrote my works.
+  So why should I repine to-day
+  Because my brow wears not the bay?
+
+
+
+
+_SATISFACTION_
+
+ON READING “NOT ONE DISSATISFIED,” BY WALT WHITMAN
+
+
+  GOD spare the day when I am satisfied!
+  Enough is truly likened to a feast that leaves man satiate.
+  The sluggishness of fulness comes apace; the dulness of a mind that
+        knows all things.
+  The lack of every sweet desire; no new sensation for the soul!
+  To want no more?
+  What vile estate is that?
+  What holds the morrow for the soul that’s satisfied?
+  What holds the future for the mind content?
+  Is aspiration worthless?
+  Is much-abused ambition then so vile?
+  What is the essence of the joy of living?
+  Must yesterday, to-morrow, and to-day all be the same,
+  With nothing to be hoped for?
+  Is not a soul athirst a joyous thing?
+  Where lies content to him whose eye doth rest on higher things?
+  What satiation can compare to hope?
+  Yet who among the satisfied hath need of hope?
+  What can he hope for if he’s satisfied?
+  ’Tis but conceit, and nothing more, to prate of satisfaction!
+  God spare the day when I am satisfied!
+  I do not want the earth,
+  Yet nothing less will leave me quite content;
+  And once ’tis mine,
+  I’m very sure you’ll find me roaming off
+  After the universe!
+
+
+
+
+_TO A WITHERED ROSE_
+
+
+  THY span of life was all too short—
+    A week or two at best—
+  From budding-time, through blossoming,
+    To withering and rest.
+
+  Yet compensation hast thou—aye!—
+    For all thy little woes;
+  For was it not thy happy lot
+    To live and die a rose?
+
+
+
+
+_THE WORST OF ENEMIES_
+
+
+  I DO not fear an enemy
+  Who all his days hath hated me.
+
+  I do not bother o’er a foe
+  Whose name and face I do not know.
+
+  I mind me not the small attack
+  Of him who bites behind my back:
+
+  But Heaven help me to the end
+  ’Gainst that one who was once my friend.
+
+
+
+
+_JOKES OF THE NIGHT_
+
+
+  BLESSED jokes of my dreams! Your praises I’d sing.
+  No mirth can compare to the mirth that you bring.
+  I’ve read London _Punch_ from beginning to end,
+  On all comic papers much money I spend,
+  But naught that is in them can ever seem bright
+  Beside the rich jokes that I dream of at night.
+
+  How I laugh at those jests of my brain when at rest,
+  The gladdest and merriest, sweetest and best!
+  And how, when I wake in the morning and try
+  To call them to mind, oh how bashful, how shy
+  They seem, how they scatter and hide out of sight—
+  Those jokes of my dreamings, those jests of the night!
+
+  Take the one that came to me to-day just at dawn:
+  The Cable-Car turns and remarks to the Prawn,
+  “The Crowbar is seasick; but then what of that,
+  As long as the Camel won’t wear a silk hat?”
+  I laughed—why, I laughed till my wife had a fright
+  For fear I’d go wild from that joke of the night.
+
+  And they’re all much like that one—elusive enough,
+  Yet full of facetious, hilarious stuff—
+  Stuff past comprehension, stuff no man dares tell;
+  For nocturnal jests, e’en told ever so well—
+  ’Tis odd it should be so—are not often bright,
+  Except to the dreamer who dreams them at night.
+
+
+
+
+_AN AUTUMNAL ROMANCE_
+
+
+  A LEAF fell in love with the soft green lawn,
+    He deemed her the sweetest and best,
+  And then on a dreary November dawn
+    He withered and died on her breast.
+
+
+
+
+_THE COUNTRY IN JULY_
+
+
+  WHERE glistening in the softness of the night
+  The vagrant will-o’-wisps do greet the sight;
+  Where fragrance baffling permeates the breeze
+  That gently flouts the grasses and the trees;
+  Where every flying thing doth seem to be
+  Instinct with sweetly sensuous melody;
+  Where hills and dales assume their warmest phase,
+  With here and there a scarf of opal haze
+  To soften their luxuriant attire;
+  Where one can almost hear the elfin choir
+  Across the meadow-land, down in the wood,
+  In songs of gladness—there are all things good.
+  Ah! ye who seek the spot where joys abide,
+  Awake! Awake! Seek out the country-side,
+  And through the blue-gray July haze see life
+  All free from care, from sorrow, and from strife.
+
+
+
+
+_MAY 30, 1893_
+
+
+  IT seemed to be but chance, yet who shall say
+  That ’twas not part of Nature’s own sweet way,
+
+  That on the field where once the cannon’s breath
+  Lay many a hero cold and stark in death,
+
+  Some little children, in the after-years,
+  Had come to play among the grassy spears,
+
+  And, all unheeding, when their romp was done,
+  Had left a wreath of wild flowers over one
+
+  Who fought to save his country, and whose lot
+  It was to die unknown and rest forgot?
+
+
+
+
+_THE CURSE OF WEALTH_
+
+
+  “WHAT shall I put my dollars in?” he asked, in wild dismay.
+    “I’ve fifty thousand of ’em, and I’d like to keep ’em too.
+  I’d like to put them by to serve some future rainy day,
+    But in these times of queer finance what can a fellow do?
+
+  “A railway bond is picturesque, and the supply is great,
+    But strangely like a novel that upon occasion drags,
+  Of which the critics of the time in hackneyed phrases state,
+    ‘The work has certain value, but the int’rest often flags!’
+
+  “The same is true of railway shares, ’tis safer to invest
+    In ploughshares, so it seems to me, in this unhappy time.
+  Some think great wealth a blessing, but it cannot stand the test;
+    He’s happier by far than I who’s but a single dime.
+
+  “He does not lie awake at night and fret and fume, to think
+    Of bank officials on a spree with what he’s toiled to get.
+  He is not driven by his woe quite to the verge of drink
+    By wondering if his balance in the bank remains there yet.
+
+  “He does not pick the paper up in terror every night
+    To see if V.B.G. is up, or P.D.Q. is down;
+  It does not fill his anxious soul with nerve-destroying fright
+    To hear the Wall Street rumors that are flying ’bout the town.
+
+  “Ah, better had I ta’en that cash that I have skimped to save,
+    And spent it on my living and my pleasures day by day!
+  I would not now be goaded nigh unto my waiting grave,
+    By wondering how the deuce to keep those dollars mine for aye.
+
+  “I’d not be bankrupt in my nerves and prematurely old,
+    These golden shackles must be burst; I must again be free.
+  What Ho without! My ducats—to the winds with all my gold,
+    That I may once again enjoy the rest of poverty.”
+
+
+
+
+_THE RHYME OF THE ANCIENT POPULIST_
+
+
+  IT was an ancient populist,
+    His beard was long and gray,
+  And punctuated by his fist,
+    He had his little say:
+  “This is the age of gold,” he said,
+  “’Tis gold for butter, gold for bread,
+  Gold for bonds and gold for fun;
+  Gold for all things ’neath the sun.”
+        Then with a smile
+          He shook his head.
+        “Just wait awhile,”
+          He slyly said.
+  “When we get in and run the State
+  We’ll tackle gold, we’ll legislate.
+        We’ll pass an act
+        And make a fact
+  By which these gold-bugs will be whacked
+        Till they’re as cold
+        As is their gold.
+  We’re going to make a statute law by which ’twill be decreed
+  That standards are abolished, for a standard favors greed.
+  This is the country of the free, and free this land shall be
+  As soon as we the ‘people’ have our opportunity,
+  And he who has to pay a bill
+  Can pay in whate’er suits his will.
+  The tailor? Let him take his coats
+        And pay his notes;
+        Or if perchance
+        He’s long on pants,
+        Let trousers be
+        His _£. s. d._
+  The baker! Let his landlord take
+        His rent in cake,
+  Or anything the man can bake.
+  And if a plumber wants a crumb,
+  He may unto the baker come
+            And plumb.
+  A joker needing hats or cloaks
+  Can go and pay for them with jokes,
+  And so on: what a fellow’s got
+  Shall pay for things that he has not.
+  If beggars’ rags were cash, you’d see
+  No longer any beggary;
+  In short, there’d be no poverty.”
+  “A splendid scheme,” quoth I; “but stay!
+  What of the nation’s credit, pray?”
+  “Ha-ha! ho-ho!” he loudly roared.
+  “We’ll leave that problem to the Lord.
+  And if He fails to keep us straight
+  Once more we’ll have to legislate,
+        And so create,
+        Confounding greed,
+  As much of credit as we need.”
+
+
+
+
+_ONE OF THE NAMELESS GREAT_
+
+
+  I KNEW a man who died in days of yore,
+    To whom no monument is like to rise;
+  And yet there never lived a mortal more
+    Deserving of a shaft to pierce the skies.
+
+  His chiefest wish strong friendships was to make;
+    He cared but little for this poor world’s pelf;
+  He shared his joys with every one who’d take,
+    And kept his sorrows strictly to himself.
+
+
+
+
+_IN FEBRUARY DAYS_
+
+
+  FAIR Nature, like the mother of a wayward child
+    Who needs must chide the offspring of her heart,
+  Disguiseth for a season all the sweet and mild
+    Maternal softness for an austere part.
+
+  And ’neath her frown the errant earth in winter seems
+    Prostrate to lie, and petulant of mood;
+  Restrained in icy fetters all the babbling streams,
+    Like naughty babes who’re learning to be good.
+
+  Then, in this second month, most motherlike again,
+    The frown assumed gives now and then a place
+  To soft indulgent glances, lessening the pain,
+    And hints of spring and pardon light her face.
+
+
+
+
+_A CHANGE OF AMBITION_
+
+
+  HORATIUS at the bridge, and he
+  Who fought at old Thermopylæ;
+
+  Great Samson and his potent bone
+  By which the Philistines were slone;
+
+  Small David with his wondrous aim
+  That did for him of giant frame;
+
+  J. Cæsar in his Gallic scraps
+  That made him lord of other chaps;
+
+  Sweet William, called the Conqueror,
+  Who made the Briton sick of war;
+
+  King Hal the Fifth, who nobly fought
+  And thrashed the foe at Agincourt;
+
+  Old Bonaparte, and Washington,
+  And Frederick, and Wellington,
+
+  Decatur, Nelson, Fighting Joe,
+  And Farragut, and Grant, and, oh,
+
+  A thousand other heroes I
+  Have wished I were in days gone by—
+
+  Can take their laurels from my door,
+  For I don’t want ’em any more.
+
+  The truth will out; it can’t be hid;
+  The doughty deed that Dewey did,
+
+  In that far distant Spanish sea,
+  Is really good enough for me.
+
+  The grammar’s bad, but, O my son,
+  I wish I’d did what Dewey done!
+
+
+
+
+_MESSAGE FROM MAHATMAS_
+
+    ONSET BAY, MASSACHUSETTS, _May 24, 18—._—Theosophists and
+    others at Onset Bay Camp Grounds have been greatly excited of
+    late by a message which has been received from the Mahatmas,
+    Koot Hoomi, and his partner, who are summering in the desert of
+    Gobi. The message is of considerable length, and contains much
+    that is purely personal.—_Daily Newspaper_.
+
+
+  SOUND the timbrel, beat the drum!
+  Word from the Mahatma’s come.
+  Straight from Hoomi Koot & Co.
+  Comes the note to us below,
+  Full of joy and gossiping.
+  Hoomi Koot is summering
+  In the desert waste of Gobi,
+  In a cottage of adobe.
+  All the little Koots are well.
+  Tommy Koot has learned to spell.
+  Mrs. Koot is busy on
+  Papers on “The Great Anon,”
+  Which by special cable soon,
+  From her workshop in the moon,
+  Will be sent to us below
+  By grand Hoomi Koot & Co.
+
+  We are told that Maggie Koot
+  Looks well in her golfing suit;
+  And her brand-new Astral Bike
+  Is the best they’ve seen this cike—
+  Cike is slang for cycle, so
+  I have learned from Koot & Co.
+  Soon she’s going to take a run
+  Out from Gobi to the sun,
+  After which she thinks to race
+  For the Championship of Space,
+  And a trophy given by
+  The Grand High Pasupati.
+
+  Baby Koot has learned to walk,
+  And likewise, ’tis said, to talk;
+  But, to Mrs. Koot’s dismay,
+  Seems to have a funny way:
+  Full of questions, “Why and How,”
+  All about the sacred cow.
+  Questions of a flippant ilk,
+  Like “Is Buddha made of milk?”
+  Questions void of answers spite
+  Of his parents’ second sight.
+  What to do with Baby Koot
+  Worries all the whole cahoot.
+
+  Finally the message ends
+  With best love to all our friends.
+  Give our enemies a twist.
+  Let each true theoso-fist
+  Strike a thunder-hitting blow
+  For the firm of Koot & Co.;
+  Strike till black is every eye
+  Doubting our theosophy.
+  And impress on every tribe
+  _Now’s the season to subscribe._
+  Guard against the coming storm;
+  Keep our astral bodies warm.
+  Give us bonnets for the head;
+  Keep our spirit stomachs fed.
+  Let your glad remittance go
+  Out to Hoomi Koot & Co.,
+  Through their Agents on the earth,
+  Men and women full of worth;
+  And when next a message comes
+  From the Koots down to their chums,
+  Those who’ve paid their money down
+  Will receive a harp and crown.
+
+  Step up lively! now’s the time
+  For your nickel and your dime,
+  To provide for winter suits
+  For the grand Mahatma Koots.
+  Furthermore, be not too brash,
+  Send it up in solid cash.
+  Astral money, it may be,
+  Circulates in theory;
+  But ’tis best to give us cold,
+  Bilious, drossy, filthy gold.
+
+  All our blessings to you go.
+  Yours, for health,
+                      H. Koots & Co.
+
+
+
+
+_THE GOLD-SEEKERS_
+
+
+          GOLD, gold, gold!
+  What care we for hunger and cold?
+  What care we for the moil and strife,
+  Or the thousands of foes to health and life,
+  When there’s gold for the mighty, and gold for the meek,
+  And gold for whoever shall dare to seek?
+      Untold
+      Is the gold;
+  And it lies in the reach of the man that’s bold:
+  In the hands of the man who dares to face
+  The death in the blast, that blows apace;
+  That withers the leaves on the forest tree;
+  That fetters with ice all the northern sea;
+  That chills all the green on the fair earth’s breast,
+  And as certainly kills as the un-stayed pest.
+  It lies in the hands of the man who’d sell
+  His hold on his life for an ice-bound hell.
+  What care we for the fevered brain
+  That’s filled with ravings and thoughts insane,
+      So long as we hold
+      In our hands the gold?—
+  The glistening, glittering, ghastly gold
+  That comes at the end of the hunger and cold;
+  That comes at the end of the awful thirst;
+  That comes through the pain and torture accurst
+  Of limbs that are racked and minds o’erthrown,
+  The gold lies there and is all our own,
+      Be we mighty or meek,
+      If we do but seek.
+  For the hunger is sweet and the cold is fair
+  To the man whose riches are past compare;
+  And the o’erthrown mind is as good as sane,
+  And a joy to the limbs is the racking pain,
+      If the gold is there.
+  And they say, if you fail, in your dying day
+  All the tears, all the troubles, are wiped away
+  By the fever-thought of your shattered mind
+  That a cruel world has at last grown kind;
+  That your hands o’errun with the clinking gold,
+  With nuggets of weight and of worth untold,
+      And your vacant eyes
+  Gloat o’er the riches of Paradise!
+
+
+
+
+_ODE TO A POLITICIAN_
+
+
+  ALL hail to thee, O son of Æolus!
+  All hail to thee, most high Borean lord!
+  The lineal descendant of the Winds art thou.
+  Child of the Cyclone,
+  Cousin to the Hurricane,
+  Tornado’s twin,
+          All hail!
+  The zephyrs of the balmy south
+          Do greet thee;
+  The eastern winds, great Boston’s pride,
+  In manner osculate caress thy massive cheek;
+          Freeze onto thee,
+  And at thy word throw off congealment
+  And take on a soft caloric mood;
+  And from afar,
+  From Afric’s strand,
+  Siroccan greetings come to thee!
+  The monsoon and simoom,
+  In the soft empurpled Orient,
+  At mention of thy name
+  Doff all the hats of Heathendom!
+  And all combined in one vast aggregation,
+  Cry out hail, hail, thrice hail to thee,
+  Who after years, and centuries, and cycles e’en,
+  Hast made the winds incarnate!
+          To thee
+          The visible expression in the flesh,
+          Material and tangible,
+  Of all that goes to make the element
+  That rages, blusters, blasts, and blows!
+  And if the poet’s mind speaks true,
+  If he can penetrate their purposes at all,
+  It is not far from their intent
+  To lift thee on their broad November wings
+          So high
+  That none but gods can ever hope
+  Again to gaze upon thy face!
+
+
+
+
+_SOME ARE AMATEURS_
+
+
+  SHAKESPEARE was partly wrong—the world’s a stage,
+    This is admitted by the bard’s detractors.
+  Had William seen some Hamlets of this age
+    He’d not have called _all_ men upon it actors.
+
+
+
+
+                             LITTLE BOOKS
+                          BY FAMOUS WRITERS
+
+
+    THE FIRST CHRISTMAS (From “Ben-Hur”)
+                                                 _By Lew. Wallace_
+
+    THE STORY OF THE OTHER WISE MAN
+                                               _By Henry van Dyke_
+
+    TWO GENTLEMEN OF KENTUCKY
+                                             _By James Lane Allen_
+
+    EPISODES IN VAN BIBBER’S LIFE
+                                        _By Richard Harding Davis_
+
+    GOOD FOR THE SOUL
+                                              _By Margaret Deland_
+
+    EVELINA’S GARDEN
+                                              _By Mary E. Wilkins_
+
+    COBWEBS FROM A LIBRARY CORNER (Verses)
+                                          _By John Kendrick Bangs_
+
+    THE WOMAN’S EXCHANGE
+                                          _By Ruth McEnery Stuart_
+
+    THE CAPTURED DREAM
+                                                _By Octave Thanet_
+
+    STORIES OF PEACE AND WAR
+                                           _By Frederic Remington_
+
+
+             Uniform with this Volume—with Frontispiece
+                        _Fifty Cents a Volume_
+
+
+                    HARPER & BROTHERS, PUBLISHERS
+
+                         NEW YORK AND LONDON
+
+
+    [Pointing hand] _Any of the above works will be sent by mail,
+    postage prepaid, to any part of the United States, Canada, or
+    Mexico, on receipt of the price._
+
+
+
+
+
+End of the Project Gutenberg EBook of Cobwebs from a Library Corner, by 
+John Kendrick Bangs
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+***** This file should be named 27534-0.txt or 27534-0.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/7/5/3/27534/
+
+Produced by Barbara Tozier, Bill Tozier 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/27534-0.zip b/27534-0.zip
new file mode 100644
index 0000000..4856a8e
--- /dev/null
+++ b/27534-0.zip
diff --git a/27534-8.txt b/27534-8.txt
new file mode 100644
index 0000000..172378e
--- /dev/null
+++ b/27534-8.txt
@@ -0,0 +1,2125 @@
+Project Gutenberg's Cobwebs from a Library Corner, by John Kendrick Bangs
+
+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: Cobwebs from a Library Corner
+
+Author: John Kendrick Bangs
+
+Release Date: December 14, 2008 [EBook #27534]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+These verses of Mr. Bangs's have appeared from time to time in the
+various Harper Periodicals, and elsewhere.
+
+
+[Illustration: OUT IN THE COLD]
+
+
+
+
+COBWEBS FROM A LIBRARY CORNER
+
+
+By
+
+
+John Kendrick Bangs
+
+
+
+NEW YORK AND LONDON
+
+HARPER & BROTHERS
+
+MDCCCXCIX
+
+
+
+Copyright, 1899, by HARPER & BROTHERS.
+
+All rights reserved.
+
+
+
+
+TO
+SISTER ANNE
+
+
+
+
+CONTENTS
+
+
+BOOKISH
+
+  A PESSIMISTIC VIEW
+  THE MASTER'S PEN--A CONFESSION
+  BOOKWORM BALLADS (A LITERARY FEAST)
+  IDEAS FOR SALE
+  THE AUTHOR'S BOOMERANG
+  TO AN EGOTISTICAL BIOGRAPHER
+  NO COPYRIGHT NEEDED
+  INGREDIENTS OF GREATNESS
+  A COMMON FAVORITE
+  THEIR PENS
+  AN UNSOLVED PROBLEM
+  THE BIBLIOPHILE'S THREAT
+  MY TREASURES
+  A POET'S FAD
+  THE POET UNDONE
+  A WANING MUSE
+  MODESTY
+  MY LORD THE BOOK
+  THE BIBLIOMISER
+  THE "COLLECTOR"
+  A READER
+  FATE!
+  A PLEASING THOUGHT
+  BOOKS _vs._ "BOOKS," BY A BIBLIOMANIAC
+  A CONFESSION
+  THE EDITION DE LOOKS
+
+
+WISE AND OTHERWISE
+
+  NAPOLINI'S ERROR
+  MY COLOR
+  CONTENTMENT IN NATURE
+  THE HEROIC GUNNER
+  THE PATHETIC TALE OF THE CADDY BOY
+  GARRULOUS WISDOM
+  THE PERJURY OF A REJECTED LOVER
+  MAID OF CULTURE
+  NOT PERFECT
+  A CITY DWELLER'S WISH
+  WHERE ARE THEY?
+  MEMORIES
+  A SAD STATE
+  AD ASTRA PER OTIUM.
+  CONSOLATION
+  SATISFACTION ON READING "NOT ONE DISSATISFIED," BY WALT WHITMAN
+  TO A WITHERED ROSE
+  THE WORST OF ENEMIES
+  JOKES OF THE NIGHT
+  AN AUTUMNAL ROMANCE
+  THE COUNTRY IN JULY
+  MAY 30, 1893
+  THE CURSE OF WEALTH
+  THE RHYME OF THE ANCIENT POPULIST
+  ONE OF THE NAMELESS GREAT
+  IN FEBRUARY DAYS
+  A CHANGE OF AMBITION
+  MESSAGE FROM MAHATMAS
+  THE GOLD-SEEKERS
+  ODE TO A POLITICIAN
+  SOME ARE AMATEURS
+
+
+
+
+BOOKISH
+
+
+
+
+_A PESSIMISTIC VIEW_
+
+
+  A LITTLE bit of Thackeray,
+    A little bit of Scott,
+  A modicum of Dickens just
+    To tangle up the plot,
+  A paraphrase of Marryat,
+    Another from Dumas--
+  You ask me for a novel, sir,
+    And I say, there you are.
+
+  The pen is greater than the sword,
+    Of that there is no doubt.
+  The pen for me whene'er I wish
+    An enemy to rout.
+  A pen, a pad, and say a pint
+    Of ink with which to scrawl,
+  To put a foe to flight is all
+    That's needed--truly all.
+
+  But when it comes to making up
+    A novel in these days
+  You do not need a pen at all
+    To win the writer's bays.
+  A pair of sharpened scissors and
+    A wealth of pure white page
+  Will do it if you have at hand
+    A pot of mucilage.
+
+  So give to me the scissors keen,
+    And give to me the glue,
+  And I will fix a novel up
+    That's sure to startle you.
+  The good ideas have all been worked,
+    But while we've gum and paste
+  There shall be books and books and books
+    To please the public taste.
+
+
+
+
+_THE MASTER'S PEN--A CONFESSION_
+
+
+  IN my collection famed of curios
+  I have, as every bookman knows,
+  A pen that Thackeray once used.
+        To be amused,
+  I thought I'd "take that pen in hand,"
+  And see what came of it--what grand
+  Inspired lines 'twould write,
+        One Sunday night.
+  I dipped it in the ink,
+  And tried to think,
+        "Just what shall I indite?"
+  And do you know, that pen went fairly mad;
+  A dreadful time with it I had.
+  It spluttered, spattered, scratched, and blotted so,
+  I had to give it up, you know.
+  It really wouldn't work for me,
+  And so I put it down; but last night, after tea,
+  I took it up again,
+  And equally in vain.
+        The hours sped;
+        I went to bed,
+  And in my dreams the pen came up to me and said:
+  "Here is the list of Asses who have tried
+  To take up pens the master laid aside;
+  Look thou!" I looked, and lo!--perhaps you've guessed--
+  My name, like Abou Ben's, led all the rest!
+
+
+
+
+_BOOKWORM BALLADS_
+
+A LITERARY FEAST
+
+
+  MY Bookworm gave a dinner to a number of his set.
+  I was not there--I say it to my very great regret.
+  For they dined well, I fancy, if the menu that I saw
+  Was followed as implicitly as one obeys the law.
+
+  "'Twill open," he observed to me, "with quatrains on the half.
+  They go down easy; then for soup"--it really made me laugh--
+  "The poems of old Johnny Gay"--his words were rather rough--
+  "They'll do quite well, for, after all, soup's thin and sloppy stuff.
+
+  "For fish, old Izaak Walton; and to serve as an _entr�e_,
+  I think some fixed-up morsel, say from James, or from Daudet;
+  The roast will be Charles Kingsley--there's a deal of beef in him.
+  For sherbet, T. B. Aldrich is just suited to my whim.
+
+  "For game I'll have Boccaccio--he's quite the proper one;
+  He certainly is gamey, and a trifle underdone;
+  And for the salad, Addison, so fresh and crisp is he,
+  With just a touch of Pope to give a tang to him, you see.
+
+  "And then for cheese, Max Nordau, for I think you'll find right there
+  Some things as strong and mushy as the best of Camembert;
+  And for dessert let Thackeray and O. Khayy�m be brought,
+  The which completes a dinner of most wondrous richness fraught.
+
+  "For olives and for almonds we can take the jokes of _Punch_--
+  They're good enough for us, I think, to casually munch;
+  And through it all we'll quaff the wines that flow forever clear
+  From Avon's vineyards in the heart of Will of Warwickshire."
+
+
+
+
+_IDEAS FOR SALE_
+
+
+  I'M in literary culture, and I've opened up a shop,
+  Where I'd like ye, gents and ladies, if you're passing by to stop.
+  Come and see my rich assortment of fine literary seed
+  That I'm selling to the writers of full many a modern screed.
+
+  I've bacilli for ten volumes for a dollar, in a bag--
+  Not a single germ among 'em that's been ever known to drag.
+  Not a single germ among 'em, if you see they're planted right,
+  But will grow into a novel that they'll say is out of sight.
+
+  I have motifs by the thousand, motifs sad and motifs gay.
+  You can buy 'em by the dozen, or I'll serve 'em every day:
+  I will serve 'em in the morning, as the milkman serves his wares;
+  I will serve 'em by the postman, or I'll leave 'em on your stairs.
+
+  When you get down to your table with your head a vacuum,
+  You can say unto your helpmeet, "Has that quart of ideas come
+  That we ordered served here daily from that plot-man down the street?"
+  And you'll find that I've been early my engagement to complete.
+
+  Should you want a book of poems that will bring you into fame,
+  Let me send a sample packet that will guarantee the same,
+  Holding "Seeds of Thought from Byron, Herrick, Chaucer, Tennyson."
+  Plant 'em deep, and keep 'em watered, and you'll find the deed is done.
+
+  I've a hundred comic packets that would make a Twain of Job;
+  I have "Seeds of Tales Narcotic; Tales of Surgeons and the Probe."
+  I've a most superb assortment, on the very cheapest terms,
+  Done up carefully in tin-foil, of my A 1 "Trilby Germs."
+
+  So perchance if you're ambitious in a literary line,
+  Be as dull as e'er you can be, you will surely cut a shine,
+  If you'll only take advantage of this opportunity,
+  When you're passing by to stop in for a little chat with me.
+
+  You may ask me, in conclusion, why I do not seek myself
+  All the laurel and the glory of these seeds I sell for pelf.
+  I will tell you, though the confidence I can't deny is rash,
+  I'm a trifle long on laurels, and a little short of cash.
+
+
+
+
+_THE AUTHOR'S BOOMERANG_
+
+
+  HE frowns with reason; he has always said,
+    "The public has no knowledge of true art;
+  The book of worth these days would not be read;
+    'Tis trash not truth that goes upon the mart."
+
+  And then was published his belov�d work--
+    Some twenty-six editions it has had--
+  And he his own conclusion cannot shirk:
+    With such success as this it must be bad!
+
+
+
+
+_TO AN EGOTISTICAL BIOGRAPHER_
+
+
+  I'VE read your story of your friend's fine life,
+    But really, gentle sir, I fail to see,
+  Why you have named it "Blank, and Jane his wife,"
+    When you had better called it simply "Me."
+
+
+
+
+_NO COPYRIGHT NEEDED_
+
+
+  I'VE penned a score of essays bright,
+    In Addison's best style;
+  I've taken many a lofty flight,
+    The Muses to beguile.
+
+  Of novels I have written few--
+    I think no more than ten;
+  With history I've had to do,
+    Like several other men.
+
+  And still, to my intense regret,
+    Through all my woe and weal,
+  I've never penned a volume yet,
+    A foreigner would steal.
+
+
+
+
+_INGREDIENTS OF GREATNESS_
+
+
+  THE style of man I'd like to be,
+    If I could have my way,
+  Would be a sort of pot-pourri
+    Of Poe and Thackeray;
+
+  Of Horace, Edison, and Lamb;
+    Of Keats and Washington,
+  G�r�me and blest Omar Khayy�m,
+    And R. L. Stevenson;
+
+  Of Kipling and the Bard of Thrums,
+    And Bonaparte the great--
+  If I were these, I'd snap my thumbs
+    Derisively at Fate.
+
+
+
+
+_A COMMON FAVORITE_
+
+
+  CHARLES LAMB is good, and so is Thackeray,
+  And so's Jane Austen in her pretty way;
+  Charles Dickens, too, has pleased me quite a lot,
+  As also have both Stevenson and Scott.
+  I like Dumas and Balzac, and I think
+  Lord Byron quite a dab at spreading ink;
+  But on the whole, at home, across the sea,
+  The author I like best is Mr. Me.
+
+  A "first" of Elia filled my soul with joy.
+  A Meredith de luxe held no alloy.
+  And when I found _Pendennis_ in the parts
+  A throb of gladness stirred my heart of hearts.
+  A richly pictured set of Avon's bard
+  Upon my liking bounded pretty hard;
+  But none brought out that cloying sense of glee
+  That came from that first book by Mr. Me.
+
+  And so I beg you join me in the toast
+  To him that I confess I love the most.
+  He does not always do his level best,
+  But no one lives who can survive that test.
+  His work is queer, and some folks call it bad,
+  And some aver 'tis but a passing fad;
+  But I don't care, the fact remains that he
+  Has won my admiration--dear old Me.
+
+
+
+
+_THEIR PENS_
+
+
+  THE poet pens his odes and sonnets spruce
+  With quills plucked from the ordinary goose,
+  While critics write their sharp incisive lines
+  With quills snatched from the fretful porcupines.
+
+
+
+
+_AN UNSOLVED PROBLEM_
+
+
+  IF Bacon wrote those grand inspiring lines
+    At which alternately man weeps and laughs,
+  Who was it penned those chirographic vines
+    We know these times as Shakespeare's autographs?
+
+
+
+
+_THE BIBLIOPHILE'S THREAT_
+
+
+  IF some one does not speedily indite
+    A volume that is worthy of my shelf,
+  I'll have to buy materials and write
+    A novel and some poetry myself.
+
+
+
+
+_MY TREASURES_
+
+
+  MY library o'erflows with treasures rare:
+    Of "Dickens' firsts," a full, unbroken set;
+  And in a little nooklet off the stair
+    The whole edition of my novelette.
+
+
+
+
+_A POET'S FAD_
+
+
+  HE writes bad verse on principle,
+    E'en though it does not sell.
+  He thinks the plan original--
+    So many folk write well.
+
+
+
+
+_THE POET UNDONE_
+
+
+  HE was a poet born, but unkind Fate
+    Once doomed him for his verses to be paid,
+  Whereon he left the poet-born's estate
+    And wrote like one who'd happened to be made.
+
+
+
+
+_A WANING MUSE_
+
+
+  "WHY art thou sad, Poeticus?" said I.
+    So blue was he I feared he would not speak.
+  "Alas! I've lost my grip," was his reply--
+    "I've writ but forty poems, sir, this week."
+
+
+
+
+_MODESTY_
+
+
+  "WHAT hundred books are best, think you?" I said,
+    Addressing one devoted to the pen.
+  He thought a moment, then he raised his head:
+    "I hardly know--I've written only ten."
+
+
+
+
+_MY LORD THE BOOK_
+
+
+  A BOOK is an aristocrat:
+    'Tis pampered--lives in state;
+  Stands on a shelf, with naught whereat
+    To worry--lovely fate!
+
+  Enjoys the best of company;
+    And often--ay, 'tis so--
+  Like much in aristocracy,
+    Its title makes it go.
+
+
+
+
+_THE BIBLIOMISER_
+
+
+  HE does not read at all, yet he doth hoard
+  Rich books. In exile on his shelves they're stored;
+  And many a volume, sweet and good and true,
+  Fails in the work that it was made to do.
+  Why, e'en the dust they've caught since he began
+  Would quite suffice to make a decent man!
+
+
+
+
+_THE "COLLECTOR"_
+
+
+  I GOT a tome to-day, and I was glad to strike it,
+  Because no other man can ever get one like it.
+  'Tis poor, and badly print; its meaning's Greek;
+  But what of that? 'Tis mine, and it's unique.
+    So Bah! to others,
+    Men and brothers--
+    Bah! and likewise Pooh!
+    I've got the best of you.
+    Go sicken, die, and eke repine.
+    That book you wanted--Gad! that's mine!
+
+
+
+
+_A READER_
+
+
+  DAUDET to him is e'er Dodett;
+    Dumas he calls Dumass;
+  But prithee do not you forget
+    He's not at all an ass;
+
+  Because the books that he doth buy,
+    That on his shelf do stand,
+  Hold not one page his eagle eye
+    Hath not completely scanned.
+
+  And while this man's orthoepy
+    May not be what it should,
+  He knows what books contain, and he
+    "Can quote 'em pretty good."
+
+
+
+
+_FATE!_
+
+
+  I FEEL that I am quite as smart
+  As Edward Bulwer Lytton, Bart.
+
+  I'm also every bit as bright
+  As Walter Scott, the Scottish knight;
+
+  And in my own peculiar way
+  I'm just as good as Thackeray.
+
+  But, woe is me that it should be,
+  They got here years ahead of me,
+
+  And all the tales I would unfold
+  By them already have been told.
+
+
+
+
+_A PLEASING THOUGHT_
+
+
+  THEY speak most truly who do say
+  We have no writing-folk to-day
+  Like those whose names, in days gone by,
+  Upon the scroll of fame stood high.
+  And when I think of Smollett's tales,
+  Of waspish Pope's ill-natured rails,
+  Of Fielding dull, of Sterne too free,
+  Of Swift's uncurbed indecency,
+  Of Dr. Johnson's bludgeon-wit,
+  I must confess I'm glad of it!
+
+
+
+
+_BOOKS vs. "BOOKS"_
+
+BY A BIBLIOMANIAC
+
+
+  A VOLUME'S just received on vellum print.
+  The book is worth the vellum--no more in't.
+  But, as I search my head for thoughts, I find
+  One fact embedded firmly in my mind.
+
+  That's this, in short: while it no doubt may be
+  Most pleasant for an author small to see
+  A fine edition of his work put out,
+  No man who's sane can ever really doubt
+
+  That products of his brain and pen can live
+  Alone for that which they may haply give!
+  And though on vellum stiff the work appears,
+  It cannot live throughout the after-years,
+
+  Unless it has within its leaves some hint
+  Of something further than the style of print
+  And paper--give me Omar on mere waste,
+  I'll choose it rather than some "bookish taste,"
+
+  Expended on a flimsy, whimsey tale,
+  Put out to catch a whimsey, flimsy sale.
+  I'd choose my Omar print on grocer's wraps
+  Before the vellum books of "bookish" chaps.
+
+
+
+
+_A CONFESSION_
+
+
+  MY epic verse, my pet production, which I deemed
+    Sufficient to advance me to the highest peak
+  Of difficult Parnassus, goal of which I've dreamed
+    For many a weary year, came back to me last week.
+  The Editor I cursed, that he should stand between
+    My dear ambition and my scarcely dearer self;
+  Whose unappreciation forced to blush unseen
+    My one dear book, to gather dust upon my shelf.
+  That night in sleep an Angel fair came to my side,
+    And in her hand she held a scroll; in lines of flame
+  The name of him I'd cursed was writ; and when I cried,
+    "What portent this?" the rare celestial dame
+                                                 Replied:
+  "Read here, O Ingrate base, the name of him thou'st cursed.
+  The very man of all men who should be the first
+  Thy love and lasting gratitude to know, since he
+  Still leaves the path Parnassian open unto thee--
+  A path which thou with halting rhyme, most ill composed,
+  Against thyself hast sought to keep forever closed.
+  _Read thou thy lines again!_"
+                                Ah! bitter was the cup.
+  I read, withdrew the curse--and tore the epic up.
+
+
+
+
+_THE EDITION DE LOOKS_
+
+
+  How very close to truth these bookish men
+  Can be when in their catalogues they pen
+
+  The words descriptive of the wares they hold
+  To tempt the book-man with his purse of gold!
+
+  For instance, they have Dryden--splendid set--
+  Which some poor wight would part with wealth to get.
+
+  'Tis richly bound, its edges gilded--but--
+  Hard fate--as Dryden well deserves--_uncut_!
+
+  For who these days would think to buy the screed
+  Of dull old dusty Dryden just to read?
+
+  In faith if his editions had been kept
+  Amongst the rarities he'd ne'er have crept!
+
+  And then those pompous, overwhelming tomes
+  You find so oft in overwhelming homes,
+
+  No substance on a Whatman surface placed,
+  In polished leather and in tooling cased,
+
+  The gilded edges dazzling to the eye
+  And flaunting all their charms so wantonly.
+
+  These book-men, when they catalogue their books,
+  Call them in truth _�dition de luxe_.
+
+  That's all they have, most of 'em, just plain shape,
+  With less pure wine than any unripe grape.
+
+  But tomes that travel on their "looks" indeed
+  Are only good for those who do not read;
+
+  And, like most people clad in garments grand,
+  Seem rather heavy for the average hand.
+
+
+
+
+WISE AND OTHERWISE
+
+
+
+
+_NAPOLINI'S ERROR_
+
+
+  PIETRO NAPOLINI DI VENDETTA PASQUARELLE
+  Deserted balmy Italy, the land that loved him well,
+  And sailed for soft America, of wealth the very fount,
+  To earn sufficient dollars there to make himself a count.
+  Alas for poor Pietro! he arrived in winter-time,
+  And marvelled at the poet who observed in tripping rhyme
+  How this New World was genial, and a sunny sort of clime.
+
+  No chance had he for music that's developed by a crank,
+  No chance had he at sculpture, nor a penny in the bank.
+  The pea-nut trade was languid, and for him too full of risk;
+  He thought the work on railways for his blood was rather brisk.
+  The sole profession left him to assuage his stomach's woe,
+  It struck him in meandering the city to and fro,
+  Was surely that of shovelling away the rich man's snow.
+
+  And then P. Napolini di Vendetta Pasquarelle
+  Sought out a city thoroughfare, the swellest of the swell.
+  He stole a shovel, and he found a broom he thought would do,
+  Then rang the massive front-door bell of Stuyvesant Depew.
+  "I wanta shov' da snow," he said, when there at last appeared
+  Fitzjohn Augustus Higgins, who in Birmingham was reared,
+  A man by all in low estate much hated and much feared.
+
+  "Go wi," said Fitz, with gesture bold. "Yer cahn't do nothink ere,
+  Yer bloomin', hugly furriner!" he added, with a sneer.
+  "Hi thinks as 'ow you dagoes is the cuss o' this 'ere land,
+  With wuthy citizens like me 'most starved on every 'and.
+  Hi vows hif I'd me wi at all hi'd order hout a troop,
+  Hand send the bloomin' lot o' yer 'ead over 'eels in soup.
+  Git hout, yer nahsty grabber yer; hewacuate the stoop."
+
+  Then when the snow had melted off, Fitzjohn Augustus went
+  And humbly asked his master for two dollars that he'd spent
+  In paying Napolini di Vendetta Pasquarelle;
+  While Nap went back to Italy, the land that loved him well,
+  Convinced that when he sailed that time his country to forsake,
+  He must have got aboard the ship when he was half awake,
+  And got to London, not New York, by some most odd mistake.
+
+
+
+
+_MY COLOR_
+
+
+  MY best-loved color? Well, I think I like
+    A soft and tender dewy green--for grass.
+  Sometimes a pink my fancy too will strike--
+    In lobster _pur�e_ or a Sauterne glass.
+
+  Blue is a color, too, I greatly love.
+    It's sort of satisfying to my eyes.
+  'Tis their own color; and I'm quite fond of
+    This hue also for soft Italian skies.
+
+  For blushes, give me red, nor hesitate
+    To pile it on; I like it good and strong
+  Upon the cheeks of her I call my Fate,
+    The loveliest of all the lovely throng.
+
+  On golden-yellow oft my fancy dwells.
+    'Tis almost godlike, as it sparkles through
+  The effervescent fizz; and wondrous spells
+    It casts o'er me when coined in dollars, too.
+
+  Hence, friend, it is I cannot specify
+    What hues particular my joys enhance.
+  I like them all; their popularity
+    At special times depends on circumstance.
+
+
+
+
+_CONTENTMENT IN NATURE_
+
+
+  I WOULD not change my joys for those
+    Of Emperors and Kings.
+  What has my gentle friend the rose
+  Told them, if aught, do you suppose--
+    The rose that tells me things?
+
+  What secrets have they had with trees?
+    What romps with grassy spears?
+  What know they of the mysteries
+  Of butterflies and honey-bees,
+    Who whisper in my ears?
+
+  What says the sunbeam unto them?
+    What tales have brooklets told?
+  Is there within their diadem
+  A single rival to the gem
+    The dewy daisies hold?
+
+  What sympathy have they with birds
+    Whose songs are songs of mine?
+  Do they e'er hear, as though in words
+  'Twas lisped, the message of the herds
+    Of grazing, lowing kine?
+
+  Ah no! Give me no lofty throne,
+    But just what Nature yields.
+  Let me but wander on, alone
+  If need be, so that all my own
+    Are woods and dales and fields.
+
+
+
+
+_THE HEROIC GUNNER_
+
+    When the order was given to withdraw from battle for breakfast,
+    one of the gun-captains, a privileged character, begged
+    Commodore Dewey to let them keep on fighting until "we've wiped
+    'em out."--_War Anecdote in Daily Paper._
+
+
+  AT the battle of Manila,
+    In the un-Pacific sea,
+  Stood a gunner with his mad up
+    Just as far as it could be--
+  Stood a gunner brave and ready
+    For the hated enemy.
+
+  Near the Isles of Philopena
+    Raged the battle all the morn,
+  And the plucky Spanish sailors
+    By the shot and shell were torn;
+  And the flag that floated o'er them
+    To oblivion was borne.
+
+  Every cannon belched projectiles,
+    Every cannon breathed forth hell,
+  Every cannon mowed the foeman
+    From the deck into the swell,
+  When amid the din of battle
+    Rang the silvery breakfast-bell.
+
+  "Stop your shooting! Come to breakfast!"
+    Cried the gallant Commodore.
+  "After eating we will let them
+    Have a rousing old encore.
+  Stow your lanyards, O my Jackies;
+    Let the cannon cease to roar."
+
+  Then upspake the fighting gunner:
+    "Dewey, don't, I beg of you.
+  What's the use of drinking coffee
+    Till we've put this scrimmage through?
+  If there's any one who's hungry,
+    Won't this Spanish omelet do?
+
+  "Farragut would not have done it
+    When through Mobile Bay he sped.
+  Why then, Dewey, should we breakfast
+    Till we've plunked 'em full of lead?
+  Let our motto be as his was--
+    _Damn the fishballs! Go ahead!_"
+
+
+
+
+_THE PATHETIC TALE OF THE CADDY BOY_
+
+
+  "COME here," said I, "oh caddy boy, and tell me how it haps
+  You cling so fast unto these links; not like the other chaps,
+  Who like to dally on the streets and play the game of craps?
+
+  "Is it that you enjoy the work of carrying a bag
+  While others speed the festive ball o'er valley, hill, and crag?
+  And do your spirits never seem to falter or to flag?
+
+  "I've watched you many a day, my lad, and puzzled o'er the fact
+  That you are so attentive to the game; your every act
+  Doth indicate perfection--there's been nothing you have lacked.
+
+  "And I would know just why it is that you so perfect seem--
+  In all my golfing days you've been the very brightest gleam--
+  Or am I lying home in bed and are you just a dream?"
+
+  "Oh, sir," said he, "I caddy here because I love my pa;
+  I cling unto these gladsome links because I love my ma;
+  In short, I love my parents, sir, and these my reasons are:
+
+  "'Twas but a year ago, good sir, when first this ancient sport
+  Came in the portals of our home--home of the sweetest sort;
+  When golf came through the window, sir, why home went through the port.
+
+  "My father first he took it up, and many a weary night
+  My mother with us children waited up by candle-light,
+  In hopes that he'd return and free us from our lonely plight.
+
+  "Then mother she went after him--alas! that it should be--
+  And shortly learned the game herself--she plays it famously--
+  Which left us children orphans, I and all my brothers three.
+
+  "They play it here, they play it there, they play it everywhere;
+  No matter what the weather, be it wet or be it fair,
+  And for the cares of golf they've dropped their every other care.
+
+  "And so it is that we poor lads are forced to leave our home,
+  And join the ranks of caddy boys who o'er the fields do roam
+  In search of little golf-balls in the sunlight and the gloam;
+
+  "For some day we are hoping that our eyes again will see
+  Our most beloved parents on some putting-green or tee;
+  A sight to gladden all our hearts if it should ever be."
+
+  And lo--I looked upon that boy--his face was sweet and sad,
+  And to my heart there came a twinge, for in that little lad
+  I recognized my eldest son--_I_ was that wicked dad!
+
+  And now together we are out on links at home and far.
+  He and his three small brothers with their shamed, repentant pa,
+  A-looking here and looking there to find their dear mamma.
+
+
+
+
+_GARRULOUS WISDOM_
+
+
+  I KNOW a wondrous man--my neighbor he;
+    He's ripe in years, and great in understanding.
+  He's versed in art, and in philosophy
+    He shows a mind that's verily commanding.
+
+  He'll stand before a painting, and without
+    A single instant's thought, or hesitation,
+  He'll tell the painter's name, nor any doubt
+    Is there he gives the proper information.
+
+  The rocks, the hills and valleys, hold from him
+    No secret that is past a man's revealing.
+  He knows why some are stout and others slim;
+    He comprehends all kinds of human feeling.
+
+  The records of the stars he knows, and each
+    Romance that round about the heavens lingers.
+  At dinner-time he oft delights to preach
+    On which was made the first, or forks or fingers.
+
+  Indeed, all things he knows, or high or low--
+    The things that fly on wing, or go a-walking--
+  Except one thing he never seems to know,
+    And that's when he should stop his endless talking.
+
+
+
+
+_THE PERJURY OF A REJECTED LOVER_
+
+
+  WHEN I was twenty-one, I swore,
+    If I should ever wed,
+  The maiden that I should adore
+    Should have a classic head;
+  Should have a form quite Junoesque;
+    A manner full of grace;
+  A wealth of hirsute picturesque
+    Above a piquant face.
+
+  But I, alas! am perjured, for
+    I've wed a dumpy lass
+  I much despised in days of yore,
+    Of quite the plainest class,
+  Because each maiden of my dream,
+    Whose favor I did seek,
+  Was so opposed unto my scheme
+    I married Jane in pique.
+
+
+
+
+_MAID OF CULTURE_
+
+
+  MAID of culture, ere we part,
+  Since we've talked of letters, art,
+  Science, faith, and hypnotism,
+  And 'most every other ism,
+  When you wrote, a while ago,
+  =Z�� mou, sas agap�,=
+
+  Let me tell you this, my dear:
+  Though your lettering was clear,
+  Though the ancient sages Greek
+  Would be glad to hear you speak,
+  They would be replete with woe
+  At your =mou, sas agap�=.
+
+  For, dear maiden most astute,
+  You have placed the mark acute
+  O'er omega. Take your specs.
+  See? It should be circumflex.
+  Still I love you, even though
+  You have written =agap�=.
+
+
+
+
+_NOT PERFECT_
+
+
+  HER eyes are blue--a lovely hue
+    For eyes; her cheeks are pink,
+  And for the cheek, 'twixt me and you,
+    That color's right, I think.
+
+  Her fingers taper prettily,
+    Her teeth are white as pearls--
+  Her hands seem softer far to me
+    Than any other girl's.
+
+  Her figure's trim--it is petite--
+    I like them just that way,
+  And truly, maiden half so sweet
+    You'd not find every day.
+
+  And yet, alas! she's not my choice,
+    This creature of my rhyme--
+  Because her soft and rich-toned voice
+    Is going all the time.
+
+
+
+
+_A CITY DWELLER'S WISH_
+
+
+  I LOVE the leaf of the old oak-tree,
+    I love the gum of the spruce,
+  I love the bark of the hickory,
+    And I love the maple's juice.
+
+  On the walnut's grain I fondly dote,
+    On the cherry's fruit I'd dine,
+  And I love to lie in a narrow boat,
+    And scent the odor of pine.
+
+  Ah, me! how I wish some power grand
+    Would invent some single tree
+  With all these points well developed, and
+    Would send that tree to me!
+
+  I'd plant it deep in the jardini�re
+    That stands in this flat of mine;
+  I'd give it the sweetest, tenderest care,
+    And water its roots with wine.
+
+
+
+
+_WHERE ARE THEY?_
+
+
+  WHAT has become of the cast-off coats
+    That covered Will Shakespeare's back?
+  What has become of the old row-boats
+    Of Kidd and his pirate pack?
+
+  Where are the scarfs that Lord Byron wore?
+    Where are poor Shelley's cuffs?
+  What has become of that wondrous store
+    Of Queen Elizabeth's ruffs?
+
+  Where are the slippers of Ferdinand?
+    Where are Marc Antony's clothes?
+  Where are the gloves from Antoinette's hand?
+    Where Oliver Goldsmith's hose?
+
+  I do not search for the ships of Tyre--
+    The grave of Whittington's cat
+  Would sooner set my spirit on fire--
+    Or even Beau Brummel's hat.
+
+  And when I reflect that there are spots
+    In the world that I can't find,
+  Where lie these same identical lots,
+    And many of this same kind,
+
+  I'm tempted to give a store of gold
+    To him that will bring to me
+  A glass, Earth's mysteries to unfold,
+    And show me where these things be.
+
+
+
+
+_MEMORIES_
+
+
+  YON maiden once a jester did adore,
+    Who early died and in the church-yard sleeps.
+  Once in a while she reads his best jokes o'er
+    And sits her down and madly, sorely weeps.
+
+
+
+
+_A SAD STATE_
+
+
+  I KNOW a man in Real Estate,
+    Whose pride of self's sublime.
+  He'd like to be a poet great
+    But "can't afford the time."
+
+
+
+
+_AD ASTRA PER OTIUM_
+
+
+  AS I read over old John Dryden's verse,
+    The rhymes of men like William Blake, and Gay,
+  The stuff that helped fill Edmund Waller's purse,
+    And that which placed on Marvell's brow the bay,
+
+  It doth appear to me that in those times
+    The Muses quaffed not sparkling wine, but grog,
+  And that to grow immortal through one's rhymes
+    Was 'bout as hard as falling off a log.
+
+
+
+
+_CONSOLATION_
+
+
+  SHAKESPEARE was not accounted great
+  When good Queen Bess ruled England's state,
+  So why should I to-day repine
+  Because the laurel is not mine?
+
+  Perhaps in twenty-ninety-three
+  Folks will begin to talk of me,
+  And somewhere statues may be built
+  Of me, in bronze, perhaps in gilt,
+
+  And sages full of quips and quirks
+  Will wonder if I wrote my works.
+  So why should I repine to-day
+  Because my brow wears not the bay?
+
+
+
+
+_SATISFACTION_
+
+ON READING "NOT ONE DISSATISFIED," BY WALT WHITMAN
+
+
+  GOD spare the day when I am satisfied!
+  Enough is truly likened to a feast that leaves man satiate.
+  The sluggishness of fulness comes apace; the dulness of a mind that
+        knows all things.
+  The lack of every sweet desire; no new sensation for the soul!
+  To want no more?
+  What vile estate is that?
+  What holds the morrow for the soul that's satisfied?
+  What holds the future for the mind content?
+  Is aspiration worthless?
+  Is much-abused ambition then so vile?
+  What is the essence of the joy of living?
+  Must yesterday, to-morrow, and to-day all be the same,
+  With nothing to be hoped for?
+  Is not a soul athirst a joyous thing?
+  Where lies content to him whose eye doth rest on higher things?
+  What satiation can compare to hope?
+  Yet who among the satisfied hath need of hope?
+  What can he hope for if he's satisfied?
+  'Tis but conceit, and nothing more, to prate of satisfaction!
+  God spare the day when I am satisfied!
+  I do not want the earth,
+  Yet nothing less will leave me quite content;
+  And once 'tis mine,
+  I'm very sure you'll find me roaming off
+  After the universe!
+
+
+
+
+_TO A WITHERED ROSE_
+
+
+  THY span of life was all too short--
+    A week or two at best--
+  From budding-time, through blossoming,
+    To withering and rest.
+
+  Yet compensation hast thou--aye!--
+    For all thy little woes;
+  For was it not thy happy lot
+    To live and die a rose?
+
+
+
+
+_THE WORST OF ENEMIES_
+
+
+  I DO not fear an enemy
+  Who all his days hath hated me.
+
+  I do not bother o'er a foe
+  Whose name and face I do not know.
+
+  I mind me not the small attack
+  Of him who bites behind my back:
+
+  But Heaven help me to the end
+  'Gainst that one who was once my friend.
+
+
+
+
+_JOKES OF THE NIGHT_
+
+
+  BLESSED jokes of my dreams! Your praises I'd sing.
+  No mirth can compare to the mirth that you bring.
+  I've read London _Punch_ from beginning to end,
+  On all comic papers much money I spend,
+  But naught that is in them can ever seem bright
+  Beside the rich jokes that I dream of at night.
+
+  How I laugh at those jests of my brain when at rest,
+  The gladdest and merriest, sweetest and best!
+  And how, when I wake in the morning and try
+  To call them to mind, oh how bashful, how shy
+  They seem, how they scatter and hide out of sight--
+  Those jokes of my dreamings, those jests of the night!
+
+  Take the one that came to me to-day just at dawn:
+  The Cable-Car turns and remarks to the Prawn,
+  "The Crowbar is seasick; but then what of that,
+  As long as the Camel won't wear a silk hat?"
+  I laughed--why, I laughed till my wife had a fright
+  For fear I'd go wild from that joke of the night.
+
+  And they're all much like that one--elusive enough,
+  Yet full of facetious, hilarious stuff--
+  Stuff past comprehension, stuff no man dares tell;
+  For nocturnal jests, e'en told ever so well--
+  'Tis odd it should be so--are not often bright,
+  Except to the dreamer who dreams them at night.
+
+
+
+
+_AN AUTUMNAL ROMANCE_
+
+
+  A LEAF fell in love with the soft green lawn,
+    He deemed her the sweetest and best,
+  And then on a dreary November dawn
+    He withered and died on her breast.
+
+
+
+
+_THE COUNTRY IN JULY_
+
+
+  WHERE glistening in the softness of the night
+  The vagrant will-o'-wisps do greet the sight;
+  Where fragrance baffling permeates the breeze
+  That gently flouts the grasses and the trees;
+  Where every flying thing doth seem to be
+  Instinct with sweetly sensuous melody;
+  Where hills and dales assume their warmest phase,
+  With here and there a scarf of opal haze
+  To soften their luxuriant attire;
+  Where one can almost hear the elfin choir
+  Across the meadow-land, down in the wood,
+  In songs of gladness--there are all things good.
+  Ah! ye who seek the spot where joys abide,
+  Awake! Awake! Seek out the country-side,
+  And through the blue-gray July haze see life
+  All free from care, from sorrow, and from strife.
+
+
+
+
+_MAY 30, 1893_
+
+
+  IT seemed to be but chance, yet who shall say
+  That 'twas not part of Nature's own sweet way,
+
+  That on the field where once the cannon's breath
+  Lay many a hero cold and stark in death,
+
+  Some little children, in the after-years,
+  Had come to play among the grassy spears,
+
+  And, all unheeding, when their romp was done,
+  Had left a wreath of wild flowers over one
+
+  Who fought to save his country, and whose lot
+  It was to die unknown and rest forgot?
+
+
+
+
+_THE CURSE OF WEALTH_
+
+
+  "WHAT shall I put my dollars in?" he asked, in wild dismay.
+    "I've fifty thousand of 'em, and I'd like to keep 'em too.
+  I'd like to put them by to serve some future rainy day,
+    But in these times of queer finance what can a fellow do?
+
+  "A railway bond is picturesque, and the supply is great,
+    But strangely like a novel that upon occasion drags,
+  Of which the critics of the time in hackneyed phrases state,
+    'The work has certain value, but the int'rest often flags!'
+
+  "The same is true of railway shares, 'tis safer to invest
+    In ploughshares, so it seems to me, in this unhappy time.
+  Some think great wealth a blessing, but it cannot stand the test;
+    He's happier by far than I who's but a single dime.
+
+  "He does not lie awake at night and fret and fume, to think
+    Of bank officials on a spree with what he's toiled to get.
+  He is not driven by his woe quite to the verge of drink
+    By wondering if his balance in the bank remains there yet.
+
+  "He does not pick the paper up in terror every night
+    To see if V.B.G. is up, or P.D.Q. is down;
+  It does not fill his anxious soul with nerve-destroying fright
+    To hear the Wall Street rumors that are flying 'bout the town.
+
+  "Ah, better had I ta'en that cash that I have skimped to save,
+    And spent it on my living and my pleasures day by day!
+  I would not now be goaded nigh unto my waiting grave,
+    By wondering how the deuce to keep those dollars mine for aye.
+
+  "I'd not be bankrupt in my nerves and prematurely old,
+    These golden shackles must be burst; I must again be free.
+  What Ho without! My ducats--to the winds with all my gold,
+    That I may once again enjoy the rest of poverty."
+
+
+
+
+_THE RHYME OF THE ANCIENT POPULIST_
+
+
+  IT was an ancient populist,
+    His beard was long and gray,
+  And punctuated by his fist,
+    He had his little say:
+  "This is the age of gold," he said,
+  "'Tis gold for butter, gold for bread,
+  Gold for bonds and gold for fun;
+  Gold for all things 'neath the sun."
+        Then with a smile
+          He shook his head.
+        "Just wait awhile,"
+          He slyly said.
+  "When we get in and run the State
+  We'll tackle gold, we'll legislate.
+        We'll pass an act
+        And make a fact
+  By which these gold-bugs will be whacked
+        Till they're as cold
+        As is their gold.
+  We're going to make a statute law by which 'twill be decreed
+  That standards are abolished, for a standard favors greed.
+  This is the country of the free, and free this land shall be
+  As soon as we the 'people' have our opportunity,
+  And he who has to pay a bill
+  Can pay in whate'er suits his will.
+  The tailor? Let him take his coats
+        And pay his notes;
+        Or if perchance
+        He's long on pants,
+        Let trousers be
+        His _�. s. d._
+  The baker! Let his landlord take
+        His rent in cake,
+  Or anything the man can bake.
+  And if a plumber wants a crumb,
+  He may unto the baker come
+            And plumb.
+  A joker needing hats or cloaks
+  Can go and pay for them with jokes,
+  And so on: what a fellow's got
+  Shall pay for things that he has not.
+  If beggars' rags were cash, you'd see
+  No longer any beggary;
+  In short, there'd be no poverty."
+  "A splendid scheme," quoth I; "but stay!
+  What of the nation's credit, pray?"
+  "Ha-ha! ho-ho!" he loudly roared.
+  "We'll leave that problem to the Lord.
+  And if He fails to keep us straight
+  Once more we'll have to legislate,
+        And so create,
+        Confounding greed,
+  As much of credit as we need."
+
+
+
+
+_ONE OF THE NAMELESS GREAT_
+
+
+  I KNEW a man who died in days of yore,
+    To whom no monument is like to rise;
+  And yet there never lived a mortal more
+    Deserving of a shaft to pierce the skies.
+
+  His chiefest wish strong friendships was to make;
+    He cared but little for this poor world's pelf;
+  He shared his joys with every one who'd take,
+    And kept his sorrows strictly to himself.
+
+
+
+
+_IN FEBRUARY DAYS_
+
+
+  FAIR Nature, like the mother of a wayward child
+    Who needs must chide the offspring of her heart,
+  Disguiseth for a season all the sweet and mild
+    Maternal softness for an austere part.
+
+  And 'neath her frown the errant earth in winter seems
+    Prostrate to lie, and petulant of mood;
+  Restrained in icy fetters all the babbling streams,
+    Like naughty babes who're learning to be good.
+
+  Then, in this second month, most motherlike again,
+    The frown assumed gives now and then a place
+  To soft indulgent glances, lessening the pain,
+    And hints of spring and pardon light her face.
+
+
+
+
+_A CHANGE OF AMBITION_
+
+
+  HORATIUS at the bridge, and he
+  Who fought at old Thermopyl�;
+
+  Great Samson and his potent bone
+  By which the Philistines were slone;
+
+  Small David with his wondrous aim
+  That did for him of giant frame;
+
+  J. C�sar in his Gallic scraps
+  That made him lord of other chaps;
+
+  Sweet William, called the Conqueror,
+  Who made the Briton sick of war;
+
+  King Hal the Fifth, who nobly fought
+  And thrashed the foe at Agincourt;
+
+  Old Bonaparte, and Washington,
+  And Frederick, and Wellington,
+
+  Decatur, Nelson, Fighting Joe,
+  And Farragut, and Grant, and, oh,
+
+  A thousand other heroes I
+  Have wished I were in days gone by--
+
+  Can take their laurels from my door,
+  For I don't want 'em any more.
+
+  The truth will out; it can't be hid;
+  The doughty deed that Dewey did,
+
+  In that far distant Spanish sea,
+  Is really good enough for me.
+
+  The grammar's bad, but, O my son,
+  I wish I'd did what Dewey done!
+
+
+
+
+_MESSAGE FROM MAHATMAS_
+
+    ONSET BAY, MASSACHUSETTS, _May 24, 18--._--Theosophists and
+    others at Onset Bay Camp Grounds have been greatly excited of
+    late by a message which has been received from the Mahatmas,
+    Koot Hoomi, and his partner, who are summering in the desert of
+    Gobi. The message is of considerable length, and contains much
+    that is purely personal.--_Daily Newspaper_.
+
+
+  SOUND the timbrel, beat the drum!
+  Word from the Mahatma's come.
+  Straight from Hoomi Koot & Co.
+  Comes the note to us below,
+  Full of joy and gossiping.
+  Hoomi Koot is summering
+  In the desert waste of Gobi,
+  In a cottage of adobe.
+  All the little Koots are well.
+  Tommy Koot has learned to spell.
+  Mrs. Koot is busy on
+  Papers on "The Great Anon,"
+  Which by special cable soon,
+  From her workshop in the moon,
+  Will be sent to us below
+  By grand Hoomi Koot & Co.
+
+  We are told that Maggie Koot
+  Looks well in her golfing suit;
+  And her brand-new Astral Bike
+  Is the best they've seen this cike--
+  Cike is slang for cycle, so
+  I have learned from Koot & Co.
+  Soon she's going to take a run
+  Out from Gobi to the sun,
+  After which she thinks to race
+  For the Championship of Space,
+  And a trophy given by
+  The Grand High Pasupati.
+
+  Baby Koot has learned to walk,
+  And likewise, 'tis said, to talk;
+  But, to Mrs. Koot's dismay,
+  Seems to have a funny way:
+  Full of questions, "Why and How,"
+  All about the sacred cow.
+  Questions of a flippant ilk,
+  Like "Is Buddha made of milk?"
+  Questions void of answers spite
+  Of his parents' second sight.
+  What to do with Baby Koot
+  Worries all the whole cahoot.
+
+  Finally the message ends
+  With best love to all our friends.
+  Give our enemies a twist.
+  Let each true theoso-fist
+  Strike a thunder-hitting blow
+  For the firm of Koot & Co.;
+  Strike till black is every eye
+  Doubting our theosophy.
+  And impress on every tribe
+  _Now's the season to subscribe._
+  Guard against the coming storm;
+  Keep our astral bodies warm.
+  Give us bonnets for the head;
+  Keep our spirit stomachs fed.
+  Let your glad remittance go
+  Out to Hoomi Koot & Co.,
+  Through their Agents on the earth,
+  Men and women full of worth;
+  And when next a message comes
+  From the Koots down to their chums,
+  Those who've paid their money down
+  Will receive a harp and crown.
+
+  Step up lively! now's the time
+  For your nickel and your dime,
+  To provide for winter suits
+  For the grand Mahatma Koots.
+  Furthermore, be not too brash,
+  Send it up in solid cash.
+  Astral money, it may be,
+  Circulates in theory;
+  But 'tis best to give us cold,
+  Bilious, drossy, filthy gold.
+
+  All our blessings to you go.
+  Yours, for health,
+                      H. Koots & Co.
+
+
+
+
+_THE GOLD-SEEKERS_
+
+
+          GOLD, gold, gold!
+  What care we for hunger and cold?
+  What care we for the moil and strife,
+  Or the thousands of foes to health and life,
+  When there's gold for the mighty, and gold for the meek,
+  And gold for whoever shall dare to seek?
+      Untold
+      Is the gold;
+  And it lies in the reach of the man that's bold:
+  In the hands of the man who dares to face
+  The death in the blast, that blows apace;
+  That withers the leaves on the forest tree;
+  That fetters with ice all the northern sea;
+  That chills all the green on the fair earth's breast,
+  And as certainly kills as the un-stayed pest.
+  It lies in the hands of the man who'd sell
+  His hold on his life for an ice-bound hell.
+  What care we for the fevered brain
+  That's filled with ravings and thoughts insane,
+      So long as we hold
+      In our hands the gold?--
+  The glistening, glittering, ghastly gold
+  That comes at the end of the hunger and cold;
+  That comes at the end of the awful thirst;
+  That comes through the pain and torture accurst
+  Of limbs that are racked and minds o'erthrown,
+  The gold lies there and is all our own,
+      Be we mighty or meek,
+      If we do but seek.
+  For the hunger is sweet and the cold is fair
+  To the man whose riches are past compare;
+  And the o'erthrown mind is as good as sane,
+  And a joy to the limbs is the racking pain,
+      If the gold is there.
+  And they say, if you fail, in your dying day
+  All the tears, all the troubles, are wiped away
+  By the fever-thought of your shattered mind
+  That a cruel world has at last grown kind;
+  That your hands o'errun with the clinking gold,
+  With nuggets of weight and of worth untold,
+      And your vacant eyes
+  Gloat o'er the riches of Paradise!
+
+
+
+
+_ODE TO A POLITICIAN_
+
+
+  ALL hail to thee, O son of �olus!
+  All hail to thee, most high Borean lord!
+  The lineal descendant of the Winds art thou.
+  Child of the Cyclone,
+  Cousin to the Hurricane,
+  Tornado's twin,
+          All hail!
+  The zephyrs of the balmy south
+          Do greet thee;
+  The eastern winds, great Boston's pride,
+  In manner osculate caress thy massive cheek;
+          Freeze onto thee,
+  And at thy word throw off congealment
+  And take on a soft caloric mood;
+  And from afar,
+  From Afric's strand,
+  Siroccan greetings come to thee!
+  The monsoon and simoom,
+  In the soft empurpled Orient,
+  At mention of thy name
+  Doff all the hats of Heathendom!
+  And all combined in one vast aggregation,
+  Cry out hail, hail, thrice hail to thee,
+  Who after years, and centuries, and cycles e'en,
+  Hast made the winds incarnate!
+          To thee
+          The visible expression in the flesh,
+          Material and tangible,
+  Of all that goes to make the element
+  That rages, blusters, blasts, and blows!
+  And if the poet's mind speaks true,
+  If he can penetrate their purposes at all,
+  It is not far from their intent
+  To lift thee on their broad November wings
+          So high
+  That none but gods can ever hope
+  Again to gaze upon thy face!
+
+
+
+
+_SOME ARE AMATEURS_
+
+
+  SHAKESPEARE was partly wrong--the world's a stage,
+    This is admitted by the bard's detractors.
+  Had William seen some Hamlets of this age
+    He'd not have called _all_ men upon it actors.
+
+
+
+
+                             LITTLE BOOKS
+                          BY FAMOUS WRITERS
+
+
+    THE FIRST CHRISTMAS (From "Ben-Hur")
+                                                 _By Lew. Wallace_
+
+    THE STORY OF THE OTHER WISE MAN
+                                               _By Henry van Dyke_
+
+    TWO GENTLEMEN OF KENTUCKY
+                                             _By James Lane Allen_
+
+    EPISODES IN VAN BIBBER'S LIFE
+                                        _By Richard Harding Davis_
+
+    GOOD FOR THE SOUL
+                                              _By Margaret Deland_
+
+    EVELINA'S GARDEN
+                                              _By Mary E. Wilkins_
+
+    COBWEBS FROM A LIBRARY CORNER (Verses)
+                                          _By John Kendrick Bangs_
+
+    THE WOMAN'S EXCHANGE
+                                          _By Ruth McEnery Stuart_
+
+    THE CAPTURED DREAM
+                                                _By Octave Thanet_
+
+    STORIES OF PEACE AND WAR
+                                           _By Frederic Remington_
+
+
+             Uniform with this Volume--with Frontispiece
+                        _Fifty Cents a Volume_
+
+
+                    HARPER & BROTHERS, PUBLISHERS
+
+                         NEW YORK AND LONDON
+
+
+    [Pointing hand] _Any of the above works will be sent by mail,
+    postage prepaid, to any part of the United States, Canada, or
+    Mexico, on receipt of the price._
+
+
+
+
+    Transcriber's note: Words originally in Greek are set off by
+    equal signs like so: =agap�=.
+
+
+
+
+
+End of the Project Gutenberg EBook of Cobwebs from a Library Corner, by 
+John Kendrick Bangs
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+***** This file should be named 27534-8.txt or 27534-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/7/5/3/27534/
+
+Produced by Barbara Tozier, Bill Tozier 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/27534-8.zip b/27534-8.zip
new file mode 100644
index 0000000..ac916f1
--- /dev/null
+++ b/27534-8.zip
diff --git a/27534-h.zip b/27534-h.zip
new file mode 100644
index 0000000..4465a3c
--- /dev/null
+++ b/27534-h.zip
diff --git a/27534-h/27534-h.htm b/27534-h/27534-h.htm
new file mode 100644
index 0000000..345b799
--- /dev/null
+++ b/27534-h/27534-h.htm
@@ -0,0 +1,2466 @@
+<!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" xml:lang="en" lang="en">
+	<head>
+		<meta http-equiv="Content-Type" content="text/html; charset=utf-8" />
+		<title>
+			Cobwebs from a Library Corner, by John Kendrick Bangs
+		</title>
+		<style type="text/css">
+/*<![CDATA[*/
+		body {width:70%;margin:0 15%;font-family:serif;}
+		h1, h2, h3 {text-align:center;font-weight:normal;margin:5em 0 1em 0;}
+
+		ul {list-style-type: none;}
+
+		img {border:0;margin:auto;display:block;}
+		.illo {margin:3em 0;}
+		.illo p {text-align:center;text-indent:0em;font-size:.85em;line-height:1em;}
+
+		.poem_title {font-style:italic;}
+		.first_word {font-variant:small-caps;}
+		.inspiration {margin:2em;font-size:.9em;text-align:justify;}
+
+		.poem {
+			margin:0em 10% 1em 10%;
+			text-align: left;
+		}
+
+		.poem .stanza { margin: 1em 0em; }
+
+		.poem p {
+			margin: 0;
+			padding-left: 3em;
+			text-indent: -3em;
+			text-align: left;
+			line-height:1.3;
+		}
+
+		.poem p.i2 { margin-left: 1em; }
+		.poem p.i4 { margin-left: 2em; }
+		.poem p.i6 { margin-left: 3em; }
+		.poem p.i8 { margin-left: 4em; }
+		.poem p.i10 { margin-left: 5em; }
+		.poem p.i12 { margin-left: 6em; }
+		.poem p.iright { text-align:right; margin-right:4em; }
+
+
+		#the-end {text-align:center;text-indent:0em;font-size:1.2em;margin:1em 0em;border-bottom:thin gray solid;padding-bottom:1em;}
+		#the-beginning {border-top:thin gray solid;padding-top:1em;}
+
+
+		/* Page Numbering */
+		.pagenum { position: absolute; left: 2em; font-size: 10px; text-align: left; color: gray; background-color: inherit; font-weight: normal; font-style: normal; font-variant: normal; text-indent: 0em; }
+		a[title].pagenum:after { content: attr(title); } /* comment this instruction to hide page numbers */
+		.disguise {color:window;} /* Used to make some page numbers invisible but still anchors. Used on pages that do not have page numbers printed on them but are included in the numbering scheme. */
+		.cheater {left:-19%;} /* Used in Contents list to make page numbers go to approximately the right place */
+
+
+		#advertisement {margin:7em 0 0 0;}
+		#advertisement ul {margin:2em;}
+		.advert_title {text-align:center;font-size:1.25em;}
+		.ad_title {}
+		.ad_title strong, .ad_pub {font-weight:normal;font-variant:small-caps;}
+		.ad_author {text-align:right;font-style:italic;}
+		#ad_closing p {text-align:center;}
+		.ad_close {margin:2em auto;text-align:justify;width:75%;}
+		.fist {font-size:1.5em;}
+
+		.page {margin:5em 0;}
+		#prefrontis {font-size:1.5em;text-align:justify;margin:5em;text-indent:1em;border:1px black solid;padding:.25em;}
+		#title_page {font-style:italic;border:2px black solid;margin:6em auto;padding:0;width:80%;}
+		#title_page h1, #title_page p, #device {border-top:2px black solid;border-bottom:2px black solid;margin:1em 0;padding:1em 0;}
+		#title_page p {text-align:center;}
+		#author {font-size:2em;padding-top:2em;}
+		#publisher {font-size:1.2em;}
+
+		#copyright_page {text-align:center;}
+		.pub {font-variant:small-caps;}
+
+		#dedication {text-align:center;font-size:1.5em;}
+
+		#contents ol {list-style-type: none;font-size:1.1em;}
+		#contents {position:relative;}
+		li {font-variant:small-caps;}
+		.toc_page { position: absolute; right: 0; top: auto;text-align:right; }
+		p.page_column {text-align:right;font-size:.8em;}
+		.toc_section {margin:2em;display:block;text-align:center;text-indent:0em;}
+
+
+		/* Anchors */
+		a:link {color: #000066; background-color: inherit; text-decoration: none;}
+		a:visited {color: #000066; background-color: inherit; text-decoration: none;}
+		a:hover {color: #A8480E; background-color: #CC9;}
+
+/*]]>*/
+		</style>
+	</head>
+
+
+<body>
+
+
+<pre>
+
+Project Gutenberg's Cobwebs from a Library Corner, by John Kendrick Bangs
+
+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: Cobwebs from a Library Corner
+
+Author: John Kendrick Bangs
+
+Release Date: December 14, 2008 [EBook #27534]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+<p id="the-beginning">&nbsp;</p>
+<div id="cover" class="illo">
+	<img src="images/cover.jpg" width="391" height="764" alt="Cover" />
+</div>
+
+<p id="prefrontis" class="page"><a class="pagenum disguise" id="pagei" title="i"> </a>These verses of Mr. Bangs’s have appeared
+	from time to time in the various
+	Harper Periodicals, and elsewhere.</p>
+
+<div id="frontis" class="illo"><a class="pagenum disguise" id="pageii" title="ii">&nbsp;</a>
+	<img src="images/frontis.jpg" width="396" height="625" alt="Frontis" />
+	<p class="caption">OUT IN THE COLD</p>
+</div>
+
+<div id="title_page" class="page"><a class="pagenum disguise" id="pageiii" title="iii">&nbsp;</a>
+	<h1>COBWEBS FROM A<br />
+		LIBRARY CORNER</h1>
+	<p>By<br />
+		<span id="author">John Kendrick Bangs</span></p>
+		<div id="device" class="illo">
+			<img src="images/device.jpg" width="181" height="180" alt="Device" />
+		</div>
+		<p id="pub_info">
+			<span id="pub_city">NEW YORK AND LONDON</span><br />
+			<span id="publisher">HARPER &amp; BROTHERS</span>
+		</p>
+		<p id="pub_date">MDCCCXCIX</p>
+</div>
+
+<div id="copyright_page" class="page"><a class="pagenum disguise" id="pageiv" title="iv">&nbsp;</a>
+	<p id="copyright">Copyright, 1899, by <span class="pub">Harper &amp; Brothers</span>.</p>
+	<p id="rights_statement">All rights reserved.</p>
+</div>
+
+<div id="dedication" class="page"><a class="pagenum disguise" id="pagev" title="v">&nbsp;</a>
+	<p>TO<br />
+		SISTER ANNE</p>
+</div>
+
+<!-- <a class="pagenum disguise" id="pagevi" title="vi">&nbsp;</a>[Blank Page] -->
+
+<div id="contents" class="section"><a class="pagenum cheater" id="pagevii" title="vii">&nbsp;</a>
+	<h2 class="section_title">CONTENTS</h2>
+	<p class="page_column">PAGE</p>
+
+	<ol>
+		<li><a href="#section_1" class="toc_section">BOOKISH</a>
+			<ol>
+				<li><a href="#poem_01">A Pessimistic View</a>   <a class="toc_page" href="#page1">1</a></li>
+				<li><a href="#poem_02">The Master’s Pen—A Confession</a>   <a class="toc_page" href="#page3">3</a></li>
+				<li><a href="#poem_03">Bookworm Ballads (a Literary Feast)</a>  <a class="toc_page" href="#page5">5</a></li>
+				<li><a href="#poem_04">Ideas for Sale</a>   <a class="toc_page" href="#page8">8</a></li>
+				<li><a href="#poem_05">The Author’s Boomerang</a>   <a class="toc_page" href="#page11">11</a></li>
+				<li><a href="#poem_06">To an Egotistical Biographer</a>   <a class="toc_page" href="#page12">12</a></li>
+				<li><a href="#poem_07">No Copyright Needed</a>   <a class="toc_page" href="#page13">13</a></li>
+				<li><a href="#poem_08">Ingredients of Greatness</a>   <a class="toc_page" href="#page14">14</a></li>
+				<li><a href="#poem_09">A Common Favorite</a>   <a class="toc_page" href="#page15">15</a></li>
+				<li><a href="#poem_10">Their Pens</a>   <a class="toc_page" href="#page17">17</a></li>
+				<li><a href="#poem_11">An Unsolved Problem</a>   <a class="toc_page" href="#page18">18</a></li>
+				<li><a href="#poem_12">The Bibliophile’s Threat</a>   <a class="toc_page" href="#page19">19</a></li>
+				<li><a href="#poem_13">My Treasures</a>   <a class="toc_page" href="#page20">20</a></li>
+				<li><a href="#poem_14">A Poet’s Fad</a>   <a class="toc_page" href="#page21">21</a></li>
+				<li><a href="#poem_15">The Poet Undone</a>   <a class="toc_page" href="#page22">22</a></li>
+				<li><a href="#poem_16">A Waning Muse</a>   <a class="toc_page" href="#page23">23</a></li>
+				<li><a href="#poem_17">Modesty</a>   <a class="toc_page" href="#page24">24</a></li>
+				<li><a href="#poem_18">My Lord the Book</a>   <a class="toc_page" href="#page25">25</a></li>
+				<li><a href="#poem_19">The Bibliomiser</a>   <a class="toc_page" href="#page26">26</a></li>
+				<li><a href="#poem_20">The “Collector”</a>   <a class="toc_page" href="#page27">27</a></li>
+				<li><a class="pagenum cheater" id="pageviii" title="viii"> </a><a href="#poem_21">A Reader</a>  <a class="toc_page" href="#page28">28</a></li>
+				<li><a href="#poem_22">Fate!</a>   <a class="toc_page" href="#page29">29</a></li>
+				<li><a href="#poem_23">A Pleasing Thought</a>   <a class="toc_page" href="#page30">30</a></li>
+				<li><a href="#poem_24">Books <em lang="la" xml:lang="la" title="versus">vs.</em> “Books,” by a Bibliomaniac</a>   <a class="toc_page" href="#page31">31</a></li>
+				<li><a href="#poem_25">A Confession</a>   <a class="toc_page" href="#page33">33</a></li>
+				<li><a href="#poem_26">The Edition de Looks</a>   <a class="toc_page" href="#page35">35</a></li>
+			</ol>
+		</li>
+
+		<li><a href="#section_2" class="toc_section">WISE AND OTHERWISE</a>
+			<ol>
+				<li><a href="#poem_27">Napolini’s Error</a>   <a class="toc_page" href="#page41">41</a></li>
+				<li><a href="#poem_28">My Color</a>   <a class="toc_page" href="#page45">45</a></li>
+				<li><a href="#poem_29">Contentment in Nature</a>   <a class="toc_page" href="#page47">47</a></li>
+				<li><a href="#poem_30">The Heroic Gunner</a>   <a class="toc_page" href="#page49">49</a></li>
+				<li><a href="#poem_31">The Pathetic Tale of the Caddy Boy</a>   <a class="toc_page" href="#page52">52</a></li>
+				<li><a href="#poem_32">Garrulous Wisdom</a>   <a class="toc_page" href="#page56">56</a></li>
+				<li><a href="#poem_33">The Perjury of a Rejected Lover</a>   <a class="toc_page" href="#page58">58</a></li>
+				<li><a href="#poem_34">Maid of Culture</a>   <a class="toc_page" href="#page59">59</a></li>
+				<li><a href="#poem_35">Not Perfect</a>   <a class="toc_page" href="#page60">60</a></li>
+				<li><a href="#poem_36">A City Dweller’s Wish</a>   <a class="toc_page" href="#page61">61</a></li>
+				<li><a href="#poem_37">Where are They?</a>   <a class="toc_page" href="#page62">62</a></li>
+				<li><a href="#poem_38">Memories</a>   <a class="toc_page" href="#page64">64</a></li>
+				<li><a href="#poem_39">A Sad State</a>   <a class="toc_page" href="#page65">65</a></li>
+				<li><a href="#poem_40">Ad Astra per Otium.</a>   <a class="toc_page" href="#page66">66</a></li>
+				<li><a href="#poem_41">Consolation</a>   <a class="toc_page" href="#page67">67</a></li>
+				<li><a href="#poem_42">Satisfaction on Reading “Not One Dissatisfied,” by Walt Whitman</a>   <a class="toc_page" href="#page68">68</a></li>
+				<li><a href="#poem_43">To a Withered Rose</a>   <a class="toc_page" href="#page70">70</a></li>
+				<li><a href="#poem_44">The Worst of Enemies</a>   <a class="toc_page" href="#page71">71</a></li>
+				<li><a class="pagenum cheater" id="pageix" title="ix"> </a><a href="#poem_45">Jokes of the Night</a>   <a class="toc_page" href="#page72">72</a></li>
+				<li><a href="#poem_46">An Autumnal Romance</a>   <a class="toc_page" href="#page75">75</a></li>
+				<li><a href="#poem_47">The Country in July</a>   <a class="toc_page" href="#page76">76</a></li>
+				<li><a href="#poem_48">May 30, 1893</a>   <a class="toc_page" href="#page78">78</a></li>
+				<li><a href="#poem_49">The Curse of Wealth</a>   <a class="toc_page" href="#page80">80</a></li>
+				<li><a href="#poem_50">The Rhyme of the Ancient Populist</a>   <a class="toc_page" href="#page83">83</a></li>
+				<li><a href="#poem_51">One of the Nameless Great</a>   <a class="toc_page" href="#page86">86</a></li>
+				<li><a href="#poem_52">In February Days</a>   <a class="toc_page" href="#page87">87</a></li>
+				<li><a href="#poem_53">A Change of Ambition</a>   <a class="toc_page" href="#page89">89</a></li>
+				<li><a href="#poem_54">Message from Mahatmas</a>   <a class="toc_page" href="#page91">91</a></li>
+				<li><a href="#poem_55">The Gold-seekers</a>   <a class="toc_page" href="#page95">95</a></li>
+				<li><a href="#poem_56">Ode to a Politician</a>   <a class="toc_page" href="#page98">98</a></li>
+				<li><a href="#poem_57">Some are Amateurs</a>   <a class="toc_page" href="#page101">101</a></li>
+			</ol>
+		</li>
+	</ol>
+</div>
+
+<!-- <a class="pagenum disguise" id="pagex" title="x">&nbsp;</a>[Blank Page] -->
+
+<h2 id="section_1" class="section_title"><a class="pagenum disguise" id="pagexi" title="xi">&nbsp;</a>BOOKISH</h2>
+
+<!-- <a class="pagenum disguise" id="pagexii" title="xii">&nbsp;</a>[Blank Page] -->
+
+<h3 id="poem_01" class="poem_title"><a class="pagenum" id="page1" title="1">&nbsp;</a>A PESSIMISTIC VIEW</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">A little</span> bit of Thackeray,</p>
+			<p class="i2">A little bit of Scott,</p>
+			<p>A modicum of Dickens just</p>
+			<p class="i2">To tangle up the plot,</p>
+			<p>A paraphrase of Marryat,</p>
+			<p class="i2">Another from Dumas—</p>
+			<p>You ask me for a novel, sir,</p>
+			<p class="i2">And I say, there you are.</p>
+		</div>
+
+		<div class="stanza">
+			<p>The pen is greater than the sword,</p>
+			<p class="i2">Of that there is no doubt.</p>
+			<p>The pen for me whene’er I wish</p>
+			<p class="i2">An enemy to rout.</p>
+			<p>A pen, a pad, and say a pint</p>
+			<p class="i2">Of ink with which to scrawl,</p>
+			<p>To put a foe to flight is all</p>
+			<p class="i2">That’s needed—truly all.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page2" title="2"> </a>But when it comes to making up</p>
+			<p class="i2">A novel in these days</p>
+			<p>You do not need a pen at all</p>
+			<p class="i2">To win the writer’s bays.</p>
+			<p>A pair of sharpened scissors and</p>
+			<p class="i2">A wealth of pure white page</p>
+			<p>Will do it if you have at hand</p>
+			<p class="i2">A pot of mucilage.</p>
+		</div>
+
+		<div class="stanza">
+			<p>So give to me the scissors keen,</p>
+			<p class="i2">And give to me the glue,</p>
+			<p>And I will fix a novel up</p>
+			<p class="i2">That’s sure to startle you.</p>
+			<p>The good ideas have all been worked,</p>
+			<p class="i2">But while we’ve gum and paste</p>
+			<p>There shall be books and books and books</p>
+			<p class="i2">To please the public taste.</p>
+		</div>
+	</div>
+
+<h3 id="poem_02" class="poem_title"><a class="pagenum" id="page3" title="3"> </a>THE MASTER’S PEN—A CONFESSION</h3>
+
+	<div class="poem">
+		<p><span class="first_word">In</span> my collection famed of curios</p>
+		<p>I have, as every bookman knows,</p>
+		<p>A pen that Thackeray once used.</p>
+		<p class="i6">To be amused,</p>
+		<p>I thought I’d “take that pen in hand,”</p>
+		<p>And see what came of it—what grand</p>
+		<p>Inspired lines ’twould write,</p>
+		<p class="i6">One Sunday night.</p>
+		<p>I dipped it in the ink,</p>
+		<p>And tried to think,</p>
+		<p class="i6">“Just what shall I indite?”</p>
+		<p>And do you know, that pen went fairly mad;</p>
+		<p>A dreadful time with it I had.</p>
+		<p><a class="pagenum" id="page4" title="4"> </a>It spluttered, spattered, scratched, and blotted so,</p>
+		<p>I had to give it up, you know.</p>
+		<p>It really wouldn’t work for me,</p>
+		<p>And so I put it down; but last night, after tea,</p>
+		<p>I took it up again,</p>
+		<p>And equally in vain.</p>
+		<p class="i6">The hours sped;</p>
+		<p class="i6">I went to bed,</p>
+		<p>And in my dreams the pen came up to me and said:</p>
+		<p>“Here is the list of Asses who have tried</p>
+		<p>To take up pens the master laid aside;</p>
+		<p>Look thou!” I looked, and lo!—perhaps you’ve guessed—</p>
+		<p>My name, like Abou Ben’s, led all the rest!</p>
+	</div>
+
+<h3 id="poem_03" class="poem_title"><a class="pagenum" id="page5" title="5">&nbsp;</a>BOOKWORM BALLADS<br />
+	<span class="poem_subtitle">A LITERARY FEAST</span></h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">My</span> Bookworm gave a dinner to a number of his set.</p>
+			<p>I was not there—I say it to my very great regret.</p>
+			<p>For they dined well, I fancy, if the menu that I saw</p>
+			<p>Was followed as implicitly as one obeys the law.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“’Twill open,” he observed to me, “with quatrains on the half.</p>
+			<p>They go down easy; then for soup”—it really made me laugh—</p>
+			<p>“The poems of old Johnny Gay”—his words were rather rough—</p>
+			<p>“They’ll do quite well, for, after all, soup’s thin and sloppy stuff.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page6" title="6"> </a>“For fish, old Izaak Walton; and to serve as an <em lang="la" xml:lang="la">entrée</em>,</p>
+			<p>I think some fixed-up morsel, say from James, or from Daudet;</p>
+			<p>The roast will be Charles Kingsley—there’s a deal of beef in him.</p>
+			<p>For sherbet, T. B. Aldrich is just suited to my whim.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“For game I’ll have Boccaccio—he’s quite the proper one;</p>
+			<p>He certainly is gamey, and a trifle underdone;</p>
+			<p>And for the salad, Addison, so fresh and crisp is he,</p>
+			<p>With just a touch of Pope to give a tang to him, you see.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“And then for cheese, Max Nordau, for I think you’ll find right there</p>
+			<p>Some things as strong and mushy as the best of Camembert;</p>
+			<p>And for dessert let Thackeray and O. Khayyám be brought,</p>
+			<p>The which completes a dinner of most wondrous richness fraught.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page7" title="7"> </a>“For olives and for almonds we can take the jokes of <cite>Punch</cite>—</p>
+			<p>They’re good enough for us, I think, to casually munch;</p>
+			<p>And through it all we’ll quaff the wines that flow forever clear</p>
+			<p>From Avon’s vineyards in the heart of Will of Warwickshire.”</p>
+		</div>
+	</div>
+
+<h3 id="poem_04" class="poem_title"><a class="pagenum" id="page8" title="8">&nbsp;</a>IDEAS FOR SALE</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I’m</span> in literary culture, and I’ve opened up a shop,</p>
+			<p>Where I’d like ye, gents and ladies, if you’re passing by to stop.</p>
+			<p>Come and see my rich assortment of fine literary seed</p>
+			<p>That I’m selling to the writers of full many a modern screed.</p>
+		</div>
+
+		<div class="stanza">
+			<p>I’ve bacilli for ten volumes for a dollar, in a bag—</p>
+			<p>Not a single germ among ’em that’s been ever known to drag.</p>
+			<p>Not a single germ among ’em, if you see they’re planted right,</p>
+			<p>But will grow into a novel that they’ll say is out of sight.</p>
+		</div>
+
+		<div class="stanza">
+			<p>I have motifs by the thousand, motifs sad and motifs gay.</p>
+			<p>You can buy ’em by the dozen, or I’ll serve ’em every day:</p>
+			<p><a class="pagenum" id="page9" title="9"> </a>I will serve ’em in the morning, as the milkman serves his wares;</p>
+			<p>I will serve ’em by the postman, or I’ll leave ’em on your stairs.</p>
+		</div>
+
+		<div class="stanza">
+			<p>When you get down to your table with your head a vacuum,</p>
+			<p>You can say unto your helpmeet, “Has that quart of ideas come</p>
+			<p>That we ordered served here daily from that plot-man down the street?”</p>
+			<p>And you’ll find that I’ve been early my engagement to complete.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Should you want a book of poems that will bring you into fame,</p>
+			<p>Let me send a sample packet that will guarantee the same,</p>
+			<p>Holding “Seeds of Thought from Byron, Herrick, Chaucer, Tennyson.”</p>
+			<p>Plant ’em deep, and keep ’em watered, and you’ll find the deed is done.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page10" title="10"> </a>I’ve a hundred comic packets that would make a Twain of Job;</p>
+			<p>I have “Seeds of Tales Narcotic; Tales of Surgeons and the Probe.”</p>
+			<p>I’ve a most superb assortment, on the very cheapest terms,</p>
+			<p>Done up carefully in tin-foil, of my A 1 “Trilby Germs.”</p>
+		</div>
+
+		<div class="stanza">
+			<p>So perchance if you’re ambitious in a literary line,</p>
+			<p>Be as dull as e’er you can be, you will surely cut a shine,</p>
+			<p>If you’ll only take advantage of this opportunity,</p>
+			<p>When you’re passing by to stop in for a little chat with me.</p>
+		</div>
+
+		<div class="stanza">
+			<p>You may ask me, in conclusion, why I do not seek myself</p>
+			<p>All the laurel and the glory of these seeds I sell for pelf.</p>
+			<p>I will tell you, though the confidence I can’t deny is rash,</p>
+			<p>I’m a trifle long on laurels, and a little short of cash.</p>
+		</div>
+	</div>
+
+<h3 id="poem_05" class="poem_title"><a class="pagenum" id="page11" title="11"> </a>THE AUTHOR’S BOOMERANG</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">He</span> frowns with reason; he has always said,</p>
+			<p class="i2">“The public has no knowledge of true art;</p>
+			<p>The book of worth these days would not be read;</p>
+			<p class="i2">’Tis trash not truth that goes upon the mart.”</p>
+		</div>
+
+		<div class="stanza">
+			<p>And then was published his belovéd work—</p>
+			<p class="i2">Some twenty-six editions it has had—</p>
+			<p>And he his own conclusion cannot shirk:</p>
+			<p class="i2">With such success as this it must be bad!</p>
+		</div>
+	</div>
+
+<h3 id="poem_06" class="poem_title"><a class="pagenum" id="page12" title="12">&nbsp;</a>TO AN EGOTISTICAL BIOGRAPHER</h3>
+
+	<div class="poem">
+		<p><span class="first_word">I’ve</span> read your story of your friend’s fine life,</p>
+		<p class="i2">But really, gentle sir, I fail to see,</p>
+		<p>Why you have named it “Blank, and Jane his wife,”</p>
+		<p class="i2">When you had better called it simply “Me.”</p>
+	</div>
+
+<h3 id="poem_07" class="poem_title"><a class="pagenum" id="page13" title="13">&nbsp;</a>NO COPYRIGHT NEEDED</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I’ve</span> penned a score of essays bright,</p>
+			<p class="i2">In Addison’s best style;</p>
+			<p>I’ve taken many a lofty flight,</p>
+			<p class="i2">The Muses to beguile.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Of novels I have written few—</p>
+			<p class="i2">I think no more than ten;</p>
+			<p>With history I’ve had to do,</p>
+			<p class="i2">Like several other men.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And still, to my intense regret,</p>
+			<p class="i2">Through all my woe and weal,</p>
+			<p>I’ve never penned a volume yet,</p>
+			<p class="i2">A foreigner would steal.</p>
+		</div>
+	</div>
+
+<h3 id="poem_08" class="poem_title"><a class="pagenum" id="page14" title="14">&nbsp;</a>INGREDIENTS OF GREATNESS</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">The</span> style of man I’d like to be,</p>
+			<p class="i2">If I could have my way,</p>
+			<p>Would be a sort of pot-pourri</p>
+			<p class="i2">Of Poe and Thackeray;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Of Horace, Edison, and Lamb;</p>
+			<p class="i2">Of Keats and Washington,</p>
+			<p>Gérôme and blest Omar Khayyám,</p>
+			<p class="i2">And R. L. Stevenson;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Of Kipling and the Bard of Thrums,</p>
+			<p class="i2">And Bonaparte the great—</p>
+			<p>If I were these, I’d snap my thumbs</p>
+			<p class="i2">Derisively at Fate.</p>
+		</div>
+	</div>
+
+<h3 id="poem_09" class="poem_title"><a class="pagenum" id="page15" title="15">&nbsp;</a>A COMMON FAVORITE</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Charles Lamb</span> is good, and so is Thackeray,</p>
+			<p>And so’s Jane Austen in her pretty way;</p>
+			<p>Charles Dickens, too, has pleased me quite a lot,</p>
+			<p>As also have both Stevenson and Scott.</p>
+			<p>I like Dumas and Balzac, and I think</p>
+			<p>Lord Byron quite a dab at spreading ink;</p>
+			<p>But on the whole, at home, across the sea,</p>
+			<p>The author I like best is Mr. Me.</p>
+		</div>
+
+		<div class="stanza">
+			<p>A “first” of Elia filled my soul with joy.</p>
+			<p>A Meredith de luxe held no alloy.</p>
+			<p><a class="pagenum" id="page16" title="16"> </a>And when I found <cite>Pendennis</cite> in the parts</p>
+			<p>A throb of gladness stirred my heart of hearts.</p>
+			<p>A richly pictured set of Avon’s bard</p>
+			<p>Upon my liking bounded pretty hard;</p>
+			<p>But none brought out that cloying sense of glee</p>
+			<p>That came from that first book by Mr. Me.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And so I beg you join me in the toast</p>
+			<p>To him that I confess I love the most.</p>
+			<p>He does not always do his level best,</p>
+			<p>But no one lives who can survive that test.</p>
+			<p>His work is queer, and some folks call it bad,</p>
+			<p>And some aver ’tis but a passing fad;</p>
+			<p>But I don’t care, the fact remains that he</p>
+			<p>Has won my admiration—dear old Me.</p>
+		</div>
+	</div>
+
+<h3 id="poem_10" class="poem_title"><a class="pagenum" id="page17" title="17">&nbsp;</a>THEIR PENS</h3>
+
+	<div class="poem">
+		<p><span class="first_word">The</span> poet pens his odes and sonnets spruce</p>
+		<p>With quills plucked from the ordinary goose,</p>
+		<p>While critics write their sharp incisive lines</p>
+		<p>With quills snatched from the fretful porcupines.</p>
+	</div>
+
+<h3 id="poem_11" class="poem_title"><a class="pagenum" id="page18" title="18">&nbsp;</a>AN UNSOLVED PROBLEM</h3>
+
+	<div class="poem">
+		<p><span class="first_word">If</span> Bacon wrote those grand inspiring lines</p>
+		<p class="i2">At which alternately man weeps and laughs,</p>
+		<p>Who was it penned those chirographic vines</p>
+		<p class="i2">We know these times as Shakespeare’s autographs?</p>
+	</div>
+
+<h3 id="poem_12" class="poem_title"><a class="pagenum" id="page19" title="19"> </a>THE BIBLIOPHILE’S THREAT</h3>
+
+	<div class="poem">
+		<p><span class="first_word">If</span> some one does not speedily indite</p>
+		<p class="i2">A volume that is worthy of my shelf,</p>
+		<p>I’ll have to buy materials and write</p>
+		<p class="i2">A novel and some poetry myself.</p>
+	</div>
+
+<h3 id="poem_13" class="poem_title"><a class="pagenum" id="page20" title="20">&nbsp;</a>MY TREASURES</h3>
+
+	<div class="poem">
+		<p><span class="first_word">My</span> library o’erflows with treasures rare:</p>
+		<p class="i2">Of “Dickens’ firsts,” a full, unbroken set;</p>
+		<p>And in a little nooklet off the stair</p>
+		<p class="i2">The whole edition of my novelette.</p>
+	</div>
+
+<h3 id="poem_14" class="poem_title"><a class="pagenum" id="page21" title="21"> </a>A POET’S FAD</h3>
+
+	<div class="poem">
+		<p><span class="first_word">He</span> writes bad verse on principle,</p>
+		<p class="i2">E’en though it does not sell.</p>
+		<p>He thinks the plan original—</p>
+		<p class="i2">So many folk write well.</p>
+	</div>
+
+<h3 id="poem_15" class="poem_title"><a class="pagenum" id="page22" title="22">&nbsp;</a>THE POET UNDONE</h3>
+
+	<div class="poem">
+		<p><span class="first_word">He</span> was a poet born, but unkind Fate</p>
+		<p class="i2">Once doomed him for his verses to be paid,</p>
+		<p>Whereon he left the poet-born’s estate</p>
+		<p class="i2">And wrote like one who’d happened to be made.</p>
+	</div>
+
+<h3 id="poem_16" class="poem_title"><a class="pagenum" id="page23" title="23">&nbsp;</a>A WANING MUSE</h3>
+
+	<div class="poem">
+		<p>“<span class="first_word">Why</span> art thou sad, Poeticus?” said I.</p>
+		<p class="i2">So blue was he I feared he would not speak.</p>
+		<p>“Alas! I’ve lost my grip,” was his reply—</p>
+		<p class="i2">“I’ve writ but forty poems, sir, this week.”</p>
+	</div>
+
+<h3 id="poem_17" class="poem_title"><a class="pagenum" id="page24" title="24">&nbsp;</a>MODESTY</h3>
+
+	<div class="poem">
+		<p>“<span class="first_word">What</span> hundred books are best, think you?” I said,</p>
+		<p class="i2">Addressing one devoted to the pen.</p>
+		<p>He thought a moment, then he raised his head:</p>
+		<p class="i2">“I hardly know—I’ve written only ten.”</p>
+	</div>
+
+<h3 id="poem_18" class="poem_title"><a class="pagenum" id="page25" title="25">&nbsp;</a>MY LORD THE BOOK</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">A book</span> is an aristocrat:</p>
+			<p class="i2">’Tis pampered—lives in state;</p>
+			<p>Stands on a shelf, with naught whereat</p>
+			<p class="i2">To worry—lovely fate!</p>
+		</div>
+
+		<div class="stanza">
+			<p>Enjoys the best of company;</p>
+			<p class="i2">And often—ay, ’tis so—</p>
+			<p>Like much in aristocracy,</p>
+			<p class="i2">Its title makes it go.</p>
+		</div>
+	</div>
+
+<h3 id="poem_19" class="poem_title"><a class="pagenum" id="page26" title="26">&nbsp;</a>THE BIBLIOMISER</h3>
+
+	<div class="poem">
+		<p><span class="first_word">He</span> does not read at all, yet he doth hoard</p>
+		<p>Rich books. In exile on his shelves they’re stored;</p>
+		<p>And many a volume, sweet and good and true,</p>
+		<p>Fails in the work that it was made to do.</p>
+		<p>Why, e’en the dust they’ve caught since he began</p>
+		<p>Would quite suffice to make a decent man!</p>
+	</div>
+
+<h3 id="poem_20" class="poem_title"><a class="pagenum" id="page27" title="27"> </a>THE “COLLECTOR”</h3>
+
+	<div class="poem">
+		<p><span class="first_word">I got</span> a tome to-day, and I was glad to strike it,</p>
+		<p>Because no other man can ever get one like it.</p>
+		<p>’Tis poor, and badly print; its meaning’s Greek;</p>
+		<p>But what of that? ’Tis mine, and it’s unique.</p>
+		<p class="i2">So Bah! to others,</p>
+		<p class="i2">Men and brothers—</p>
+		<p class="i2">Bah! and likewise Pooh!</p>
+		<p class="i2">I’ve got the best of you.</p>
+		<p class="i2">Go sicken, die, and eke repine.</p>
+		<p class="i2">That book you wanted—Gad! that’s mine!</p>
+	</div>
+
+<h3 id="poem_21" class="poem_title"><a class="pagenum" id="page28" title="28">&nbsp;</a>A READER</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Daudet</span> to him is e’er Dodett;</p>
+			<p class="i2">Dumas he calls Dumass;</p>
+			<p>But prithee do not you forget</p>
+			<p class="i2">He’s not at all an ass;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Because the books that he doth buy,</p>
+			<p class="i2">That on his shelf do stand,</p>
+			<p>Hold not one page his eagle eye</p>
+			<p class="i2">Hath not completely scanned.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And while this man’s orthoepy</p>
+			<p class="i2">May not be what it should,</p>
+			<p>He knows what books contain, and he</p>
+			<p class="i2">“Can quote ’em pretty good.”</p>
+		</div>
+	</div>
+
+<h3 id="poem_22" class="poem_title"><a class="pagenum" id="page29" title="29">&nbsp;</a>FATE!</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I feel</span> that I am quite as smart</p>
+			<p>As Edward Bulwer Lytton, Bart.</p>
+		</div>
+
+		<div class="stanza">
+			<p>I’m also every bit as bright</p>
+			<p>As Walter Scott, the Scottish knight;</p>
+		</div>
+
+		<div class="stanza">
+			<p>And in my own peculiar way</p>
+			<p>I’m just as good as Thackeray.</p>
+		</div>
+
+		<div class="stanza">
+			<p>But, woe is me that it should be,</p>
+			<p>They got here years ahead of me,</p>
+		</div>
+
+		<div class="stanza">
+			<p>And all the tales I would unfold</p>
+			<p>By them already have been told.</p>
+		</div>
+	</div>
+
+<h3 id="poem_23" class="poem_title"><a class="pagenum" id="page30" title="30">&nbsp;</a>A PLEASING THOUGHT</h3>
+
+	<div class="poem">
+		<p><span class="first_word">They</span> speak most truly who do say</p>
+		<p>We have no writing-folk to-day</p>
+		<p>Like those whose names, in days gone by,</p>
+		<p>Upon the scroll of fame stood high.</p>
+		<p>And when I think of Smollett’s tales,</p>
+		<p>Of waspish Pope’s ill-natured rails,</p>
+		<p>Of Fielding dull, of Sterne too free,</p>
+		<p>Of Swift’s uncurbed indecency,</p>
+		<p>Of Dr. Johnson’s bludgeon-wit,</p>
+		<p>I must confess I’m glad of it!</p>
+	</div>
+
+<h3 id="poem_24" class="poem_title"><a class="pagenum" id="page31" title="31"> </a>BOOKS vs. “BOOKS”<br />
+	<span class="poem_subtitle">BY A BIBLIOMANIAC</span></h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">A volume’s</span> just received on vellum print.</p>
+			<p>The book is worth the vellum—no more in’t.</p>
+			<p>But, as I search my head for thoughts, I find</p>
+			<p>One fact embedded firmly in my mind.</p>
+		</div>
+
+		<div class="stanza">
+			<p>That’s this, in short: while it no doubt may be</p>
+			<p>Most pleasant for an author small to see</p>
+			<p>A fine edition of his work put out,</p>
+			<p>No man who’s sane can ever really doubt</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page32" title="32"> </a>That products of his brain and pen can live</p>
+			<p>Alone for that which they may haply give!</p>
+			<p>And though on vellum stiff the work appears,</p>
+			<p>It cannot live throughout the after-years,</p>
+		</div>
+
+		<div class="stanza">
+			<p>Unless it has within its leaves some hint</p>
+			<p>Of something further than the style of print</p>
+			<p>And paper—give me Omar on mere waste,</p>
+			<p>I’ll choose it rather than some “bookish taste,”</p>
+		</div>
+
+		<div class="stanza">
+			<p>Expended on a flimsy, whimsey tale,</p>
+			<p>Put out to catch a whimsey, flimsy sale.</p>
+			<p>I’d choose my Omar print on grocer’s wraps</p>
+			<p>Before the vellum books of “bookish” chaps.</p>
+		</div>
+	</div>
+
+<h3 id="poem_25" class="poem_title"><a class="pagenum" id="page33" title="33">&nbsp;</a>A CONFESSION</h3>
+
+	<div class="poem">
+		<p><span class="first_word">My</span> epic verse, my pet production, which I deemed</p>
+		<p class="i2">Sufficient to advance me to the highest peak</p>
+		<p>Of difficult Parnassus, goal of which I’ve dreamed</p>
+		<p class="i2">For many a weary year, came back to me last week.</p>
+		<p>The Editor I cursed, that he should stand between</p>
+		<p class="i2">My dear ambition and my scarcely dearer self;</p>
+		<p>Whose unappreciation forced to blush unseen</p>
+		<p class="i2">My one dear book, to gather dust upon my shelf.</p>
+		<p><a class="pagenum" id="page34" title="34"> </a>That night in sleep an Angel fair came to my side,</p>
+		<p class="i2">And in her hand she held a scroll; in lines of flame</p>
+		<p>The name of him I’d cursed was writ; and when I cried,</p>
+		<p class="i2">“What portent this?” the rare celestial dame</p>
+		<p class="iright">Replied:</p>
+		<p>“Read here, O Ingrate base, the name of him thou’st cursed.</p>
+		<p>The very man of all men who should be the first</p>
+		<p>Thy love and lasting gratitude to know, since he</p>
+		<p>Still leaves the path Parnassian open unto thee—</p>
+		<p>A path which thou with halting rhyme, most ill composed,</p>
+		<p>Against thyself hast sought to keep forever closed.</p>
+		<p><em>Read thou thy lines again!</em>”</p>
+		<p class="iright">Ah! bitter was the cup.</p>
+		<p>I read, withdrew the curse—and tore the epic up.</p>
+	</div>
+
+<h3 id="poem_26" class="poem_title"><a class="pagenum" id="page35" title="35">&nbsp;</a>THE EDITION DE LOOKS</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p>How very close to truth these bookish men</p>
+			<p>Can be when in their catalogues they pen</p>
+		</div>
+
+		<div class="stanza">
+			<p>The words descriptive of the wares they hold</p>
+			<p>To tempt the book-man with his purse of gold!</p>
+		</div>
+
+		<div class="stanza">
+			<p>For instance, they have Dryden—splendid set—</p>
+			<p>Which some poor wight would part with wealth to get.</p>
+		</div>
+
+		<div class="stanza">
+			<p>’Tis richly bound, its edges gilded—but—</p>
+			<p>Hard fate—as Dryden well deserves—<em>uncut!</em></p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page36" title="36"> </a>For who these days would think to buy the screed</p>
+			<p>Of dull old dusty Dryden just to read?</p>
+		</div>
+
+		<div class="stanza">
+			<p>In faith if his editions had been kept</p>
+			<p>Amongst the rarities he’d ne’er have crept!</p>
+		</div>
+
+		<div class="stanza">
+			<p>And then those pompous, overwhelming tomes</p>
+			<p>You find so oft in overwhelming homes,</p>
+		</div>
+
+		<div class="stanza">
+			<p>No substance on a Whatman surface placed,</p>
+			<p>In polished leather and in tooling cased,</p>
+		</div>
+
+		<div class="stanza">
+			<p>The gilded edges dazzling to the eye</p>
+			<p>And flaunting all their charms so wantonly.</p>
+		</div>
+
+		<div class="stanza">
+			<p>These book-men, when they catalogue their books,</p>
+			<p>Call them in truth <em lang="fr" xml:lang="fr">édition de luxe</em>.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page37" title="37"> </a>That’s all they have, most of ’em, just plain shape,</p>
+			<p>With less pure wine than any unripe grape.</p>
+		</div>
+
+		<div class="stanza">
+			<p>But tomes that travel on their “looks” indeed</p>
+			<p>Are only good for those who do not read;</p>
+		</div>
+
+		<div class="stanza">
+			<p>And, like most people clad in garments grand,</p>
+			<p>Seem rather heavy for the average hand.</p>
+		</div>
+	</div>
+
+<!-- <a class="pagenum" id="page38" title="38">&nbsp;</a>[Blank Page] -->
+
+<h2 id="section_2" class="section_title"><a class="pagenum disguise" id="page39" title="39">&nbsp;</a>WISE AND OTHERWISE</h2>
+
+<!-- <a class="pagenum disguise" id="page40" title="40">&nbsp;</a>[Blank Page] -->
+
+<h3 id="poem_27" class="poem_title"><a class="pagenum" id="page41" title="41"> </a>NAPOLINI’S ERROR</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Pietro Napolini di Vendetta Pasquarelle</span></p>
+			<p>Deserted balmy Italy, the land that loved him well,</p>
+			<p>And sailed for soft America, of wealth the very fount,</p>
+			<p>To earn sufficient dollars there to make himself a count.</p>
+			<p>Alas for poor Pietro! he arrived in winter-time,</p>
+			<p>And marvelled at the poet who observed in tripping rhyme</p>
+			<p>How this New World was genial, and a sunny sort of clime.</p>
+		</div>
+
+		<div class="stanza">
+			<p>No chance had he for music that’s developed by a crank,</p>
+			<p>No chance had he at sculpture, nor a penny in the bank.</p>
+			<p><a class="pagenum" id="page42" title="42"> </a>The pea-nut trade was languid, and for him too full of risk;</p>
+			<p>He thought the work on railways for his blood was rather brisk.</p>
+			<p>The sole profession left him to assuage his stomach’s woe,</p>
+			<p>It struck him in meandering the city to and fro,</p>
+			<p>Was surely that of shovelling away the rich man’s snow.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And then P. Napolini di Vendetta Pasquarelle</p>
+			<p>Sought out a city thoroughfare, the swellest of the swell.</p>
+			<p>He stole a shovel, and he found a broom he thought would do,</p>
+			<p>Then rang the massive front-door bell of Stuyvesant Depew.</p>
+			<p>“I wanta shov’ da snow,” he said, when there at last appeared</p>
+			<p>Fitzjohn Augustus Higgins, who in Birmingham was reared,</p>
+			<p>A man by all in low estate much hated and much feared.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page43" title="43"> </a>“Go wi,” said Fitz, with gesture bold. “Yer cahn’t do nothink ere,</p>
+			<p>Yer bloomin’, hugly furriner!” he added, with a sneer.</p>
+			<p>“Hi thinks as ’ow you dagoes is the cuss o’ this ’ere land,</p>
+			<p>With wuthy citizens like me ’most starved on every ’and.</p>
+			<p>Hi vows hif I’d me wi at all hi’d order hout a troop,</p>
+			<p>Hand send the bloomin’ lot o’ yer ’ead over ’eels in soup.</p>
+			<p>Git hout, yer nahsty grabber yer; hewacuate the stoop.”</p>
+		</div>
+
+		<div class="stanza">
+			<p>Then when the snow had melted off, Fitzjohn Augustus went</p>
+			<p>And humbly asked his master for two dollars that he’d spent</p>
+			<p>In paying Napolini di Vendetta Pasquarelle;</p>
+			<p>While Nap went back to Italy, the land that loved him well,</p>
+			<p>Convinced that when he sailed that time his country to forsake,</p>
+			<p><a class="pagenum" id="page44" title="44"> </a>He must have got aboard the ship when he was half awake,</p>
+			<p>And got to London, not New York, by some most odd mistake.</p>
+		</div>
+	</div>
+
+<h3 id="poem_28" class="poem_title"><a class="pagenum" id="page45" title="45">&nbsp;</a>MY COLOR</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">My</span> best-loved color? Well, I think I like</p>
+			<p class="i2">A soft and tender dewy green—for grass.</p>
+			<p>Sometimes a pink my fancy too will strike—</p>
+			<p class="i2">In lobster <em lang="fr" xml:lang="fr">purée</em> or a Sauterne glass.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Blue is a color, too, I greatly love.</p>
+			<p class="i2">It’s sort of satisfying to my eyes.</p>
+			<p>’Tis their own color; and I’m quite fond of</p>
+			<p class="i2">This hue also for soft Italian skies.</p>
+		</div>
+
+		<div class="stanza">
+			<p>For blushes, give me red, nor hesitate</p>
+			<p class="i2">To pile it on; I like it good and strong</p>
+			<p><a class="pagenum" id="page46" title="46"> </a>Upon the cheeks of her I call my Fate,</p>
+			<p class="i2">The loveliest of all the lovely throng.</p>
+		</div>
+
+		<div class="stanza">
+			<p>On golden-yellow oft my fancy dwells.</p>
+			<p class="i2">’Tis almost godlike, as it sparkles through</p>
+			<p>The effervescent fizz; and wondrous spells</p>
+			<p class="i2">It casts o’er me when coined in dollars, too.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Hence, friend, it is I cannot specify</p>
+			<p class="i2">What hues particular my joys enhance.</p>
+			<p>I like them all; their popularity</p>
+			<p class="i2">At special times depends on circumstance.</p>
+		</div>
+	</div>
+
+<h3 id="poem_29" class="poem_title"><a class="pagenum" id="page47" title="47">&nbsp;</a>CONTENTMENT IN NATURE</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I would</span> not change my joys for those</p>
+			<p class="i2">Of Emperors and Kings.</p>
+			<p>What has my gentle friend the rose</p>
+			<p>Told them, if aught, do you suppose—</p>
+			<p class="i2">The rose that tells me things?</p>
+		</div>
+
+		<div class="stanza">
+			<p>What secrets have they had with trees?</p>
+			<p class="i2">What romps with grassy spears?</p>
+			<p>What know they of the mysteries</p>
+			<p>Of butterflies and honey-bees,</p>
+			<p class="i2">Who whisper in my ears?</p>
+		</div>
+
+		<div class="stanza">
+			<p>What says the sunbeam unto them?</p>
+			<p class="i2">What tales have brooklets told?</p>
+			<p><a class="pagenum" id="page48" title="48"> </a>Is there within their diadem</p>
+			<p>A single rival to the gem</p>
+			<p class="i2">The dewy daisies hold?</p>
+		</div>
+
+		<div class="stanza">
+			<p>What sympathy have they with birds</p>
+			<p class="i2">Whose songs are songs of mine?</p>
+			<p>Do they e’er hear, as though in words</p>
+			<p>’Twas lisped, the message of the herds</p>
+			<p class="i2">Of grazing, lowing kine?</p>
+		</div>
+
+		<div class="stanza">
+			<p>Ah no! Give me no lofty throne,</p>
+			<p class="i2">But just what Nature yields.</p>
+			<p>Let me but wander on, alone</p>
+			<p>If need be, so that all my own</p>
+			<p class="i2">Are woods and dales and fields.</p>
+		</div>
+	</div>
+
+<h3 id="poem_30" class="poem_title"><a class="pagenum" id="page49" title="49">&nbsp;</a>THE HEROIC GUNNER</h3>
+
+	<p class="inspiration">When the order was given to withdraw from battle
+		for breakfast, one of the gun-captains, a privileged
+		character, begged Commodore Dewey to let them keep
+		on fighting until “we’ve wiped ’em out.”—<cite>War Anecdote
+		in Daily Paper.</cite></p>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">At</span> the battle of Manila,</p>
+			<p class="i2">In the un-Pacific sea,</p>
+			<p>Stood a gunner with his mad up</p>
+			<p class="i2">Just as far as it could be—</p>
+			<p>Stood a gunner brave and ready</p>
+			<p class="i2">For the hated enemy.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Near the Isles of Philopena</p>
+			<p class="i2">Raged the battle all the morn,</p>
+			<p>And the plucky Spanish sailors</p>
+			<p class="i2">By the shot and shell were torn;</p>
+			<p>And the flag that floated o’er them</p>
+			<p class="i2">To oblivion was borne.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page50" title="50"> </a>Every cannon belched projectiles,</p>
+			<p class="i2">Every cannon breathed forth hell,</p>
+			<p>Every cannon mowed the foeman</p>
+			<p class="i2">From the deck into the swell,</p>
+			<p>When amid the din of battle</p>
+			<p class="i2">Rang the silvery breakfast-bell.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“Stop your shooting! Come to breakfast!”</p>
+			<p class="i2">Cried the gallant Commodore.</p>
+			<p>“After eating we will let them</p>
+			<p class="i2">Have a rousing old encore.</p>
+			<p>Stow your lanyards, O my Jackies;</p>
+			<p class="i2">Let the cannon cease to roar.”</p>
+		</div>
+
+		<div class="stanza">
+			<p>Then upspake the fighting gunner:</p>
+			<p class="i2">“Dewey, don’t, I beg of you.</p>
+			<p>What’s the use of drinking coffee</p>
+			<p class="i2">Till we’ve put this scrimmage through?</p>
+			<p>If there’s any one who’s hungry,</p>
+			<p class="i2">Won’t this Spanish omelet do?</p>
+		</div>
+
+		<div class="stanza">
+			<p>“Farragut would not have done it</p>
+			<p class="i2">When through Mobile Bay he sped.</p>
+			<p><a class="pagenum" id="page51" title="51"> </a>Why then, Dewey, should we breakfast</p>
+			<p class="i2">Till we’ve plunked ’em full of lead?</p>
+			<p>Let our motto be as his was—</p>
+			<p class="i2"><em>Damn the fishballs! Go ahead!</em>”</p>
+		</div>
+	</div>
+
+<h3 id="poem_31" class="poem_title"><a class="pagenum" id="page52" title="52">&nbsp;</a>THE PATHETIC TALE OF THE CADDY BOY</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p>“<span class="first_word">Come</span> here,” said I, “oh caddy boy, and tell me how it haps</p>
+			<p>You cling so fast unto these links; not like the other chaps,</p>
+			<p>Who like to dally on the streets and play the game of craps?</p>
+		</div>
+
+		<div class="stanza">
+			<p>“Is it that you enjoy the work of carrying a bag</p>
+			<p>While others speed the festive ball o’er valley, hill, and crag?</p>
+			<p>And do your spirits never seem to falter or to flag?</p>
+		</div>
+
+		<div class="stanza">
+			<p>“I’ve watched you many a day, my lad, and puzzled o’er the fact</p>
+			<p>That you are so attentive to the game; your every act</p>
+			<p><a class="pagenum" id="page53" title="53"> </a>Doth indicate perfection—there’s been nothing you have lacked.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“And I would know just why it is that you so perfect seem—</p>
+			<p>In all my golfing days you’ve been the very brightest gleam—</p>
+			<p>Or am I lying home in bed and are you just a dream?”</p>
+		</div>
+
+		<div class="stanza">
+			<p>“Oh, sir,” said he, “I caddy here because I love my pa;</p>
+			<p>I cling unto these gladsome links because I love my ma;</p>
+			<p>In short, I love my parents, sir, and these my reasons are:</p>
+		</div>
+
+		<div class="stanza">
+			<p>“’Twas but a year ago, good sir, when first this ancient sport</p>
+			<p>Came in the portals of our home—home of the sweetest sort;</p>
+			<p>When golf came through the window, sir, why home went through the port.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page54" title="54"> </a>“My father first he took it up, and many a weary night</p>
+			<p>My mother with us children waited up by candle-light,</p>
+			<p>In hopes that he’d return and free us from our lonely plight.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“Then mother she went after him—alas! that it should be—</p>
+			<p>And shortly learned the game herself—she plays it famously—</p>
+			<p>Which left us children orphans, I and all my brothers three.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“They play it here, they play it there, they play it everywhere;</p>
+			<p>No matter what the weather, be it wet or be it fair,</p>
+			<p>And for the cares of golf they’ve dropped their every other care.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“And so it is that we poor lads are forced to leave our home,</p>
+			<p>And join the ranks of caddy boys who o’er the fields do roam</p>
+			<p><a class="pagenum" id="page55" title="55"> </a>In search of little golf-balls in the sunlight and the gloam;</p>
+		</div>
+
+		<div class="stanza">
+			<p>“For some day we are hoping that our eyes again will see</p>
+			<p>Our most beloved parents on some putting-green or tee;</p>
+			<p>A sight to gladden all our hearts if it should ever be.”</p>
+		</div>
+
+		<div class="stanza">
+			<p>And lo—I looked upon that boy—his face was sweet and sad,</p>
+			<p>And to my heart there came a twinge, for in that little lad</p>
+			<p>I recognized my eldest son—<em>I</em> was that wicked dad!</p>
+		</div>
+
+		<div class="stanza">
+			<p>And now together we are out on links at home and far.</p>
+			<p>He and his three small brothers with their shamed, repentant pa,</p>
+			<p>A-looking here and looking there to find their dear mamma.</p>
+		</div>
+	</div>
+
+<h3 id="poem_32" class="poem_title"><a class="pagenum" id="page56" title="56">&nbsp;</a>GARRULOUS WISDOM</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I know</span> a wondrous man—my neighbor he;</p>
+			<p class="i2">He’s ripe in years, and great in understanding.</p>
+			<p>He’s versed in art, and in philosophy</p>
+			<p class="i2">He shows a mind that’s verily commanding.</p>
+		</div>
+
+		<div class="stanza">
+			<p>He’ll stand before a painting, and without</p>
+			<p class="i2">A single instant’s thought, or hesitation,</p>
+			<p>He’ll tell the painter’s name, nor any doubt</p>
+			<p class="i2">Is there he gives the proper information.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page57" title="57"> </a>The rocks, the hills and valleys, hold from him</p>
+			<p class="i2">No secret that is past a man’s revealing.</p>
+			<p>He knows why some are stout and others slim;</p>
+			<p class="i2">He comprehends all kinds of human feeling.</p>
+		</div>
+
+		<div class="stanza">
+			<p>The records of the stars he knows, and each</p>
+			<p class="i2">Romance that round about the heavens lingers.</p>
+			<p>At dinner-time he oft delights to preach</p>
+			<p class="i2">On which was made the first, or forks or fingers.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Indeed, all things he knows, or high or low—</p>
+			<p class="i2">The things that fly on wing, or go a-walking—</p>
+			<p>Except one thing he never seems to know,</p>
+			<p class="i2">And that’s when he should stop his endless talking.</p>
+		</div>
+	</div>
+
+<h3 id="poem_33" class="poem_title"><a class="pagenum" id="page58" title="58">&nbsp;</a>THE PERJURY OF A REJECTED LOVER</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">When</span> I was twenty-one, I swore,</p>
+			<p class="i2">If I should ever wed,</p>
+			<p>The maiden that I should adore</p>
+			<p class="i2">Should have a classic head;</p>
+			<p>Should have a form quite Junoesque;</p>
+			<p class="i2">A manner full of grace;</p>
+			<p>A wealth of hirsute picturesque</p>
+			<p class="i2">Above a piquant face.</p>
+		</div>
+
+		<div class="stanza">
+			<p>But I, alas! am perjured, for</p>
+			<p class="i2">I’ve wed a dumpy lass</p>
+			<p>I much despised in days of yore,</p>
+			<p class="i2">Of quite the plainest class,</p>
+			<p>Because each maiden of my dream,</p>
+			<p class="i2">Whose favor I did seek,</p>
+			<p>Was so opposed unto my scheme</p>
+			<p class="i2">I married Jane in pique.</p>
+		</div>
+	</div>
+
+<h3 id="poem_34" class="poem_title"><a class="pagenum" id="page59" title="59">&nbsp;</a>MAID OF CULTURE</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Maid</span> of culture, ere we part,</p>
+			<p>Since we’ve talked of letters, art,</p>
+			<p>Science, faith, and hypnotism,</p>
+			<p>And ’most every other ism,</p>
+			<p>When you wrote, a while ago,</p>
+			<p><span title="Zóê mou, sas agapó,">Ζώη μοῦ, σὰς ἀγαπώ,</span></p>
+		</div>
+
+		<div class="stanza">
+			<p>Let me tell you this, my dear:</p>
+			<p>Though your lettering was clear,</p>
+			<p>Though the ancient sages Greek</p>
+			<p>Would be glad to hear you speak,</p>
+			<p>They would be replete with woe</p>
+			<p>At your <span title="mou, sas agapó">μοῦ, σὰς ἀγαπώ</span>.</p>
+		</div>
+
+		<div class="stanza">
+			<p>For, dear maiden most astute,</p>
+			<p>You have placed the mark acute</p>
+			<p>O’er omega. Take your specs.</p>
+			<p>See? It should be circumflex.</p>
+			<p>Still I love you, even though</p>
+			<p>You have written <span title="agapó">ἀγαπώ</span>.</p>
+		</div>
+	</div>
+
+<h3 id="poem_35" class="poem_title"><a class="pagenum" id="page60" title="60">&nbsp;</a>NOT PERFECT</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Her</span> eyes are blue—a lovely hue</p>
+			<p class="i2">For eyes; her cheeks are pink,</p>
+			<p>And for the cheek, ’twixt me and you,</p>
+			<p class="i2">That color’s right, I think.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Her fingers taper prettily,</p>
+			<p class="i2">Her teeth are white as pearls—</p>
+			<p>Her hands seem softer far to me</p>
+			<p class="i2">Than any other girl’s.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Her figure’s trim—it is petite—</p>
+			<p class="i2">I like them just that way,</p>
+			<p>And truly, maiden half so sweet</p>
+			<p class="i2">You’d not find every day.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And yet, alas! she’s not my choice,</p>
+			<p class="i2">This creature of my rhyme—</p>
+			<p>Because her soft and rich-toned voice</p>
+			<p class="i2">Is going all the time.</p>
+		</div>
+	</div>
+
+<h3 id="poem_36" class="poem_title"><a class="pagenum" id="page61" title="61"> </a>A CITY DWELLER’S WISH</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I love</span> the leaf of the old oak-tree,</p>
+			<p class="i2">I love the gum of the spruce,</p>
+			<p>I love the bark of the hickory,</p>
+			<p class="i2">And I love the maple’s juice.</p>
+		</div>
+
+		<div class="stanza">
+			<p>On the walnut’s grain I fondly dote,</p>
+			<p class="i2">On the cherry’s fruit I’d dine,</p>
+			<p>And I love to lie in a narrow boat,</p>
+			<p class="i2">And scent the odor of pine.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Ah, me! how I wish some power grand</p>
+			<p class="i2">Would invent some single tree</p>
+			<p>With all these points well developed, and</p>
+			<p class="i2">Would send that tree to me!</p>
+		</div>
+
+		<div class="stanza">
+			<p>I’d plant it deep in the jardinière</p>
+			<p class="i2">That stands in this flat of mine;</p>
+			<p>I’d give it the sweetest, tenderest care,</p>
+			<p class="i2">And water its roots with wine.</p>
+		</div>
+	</div>
+
+<h3 id="poem_37" class="poem_title"><a class="pagenum" id="page62" title="62">&nbsp;</a>WHERE ARE THEY?</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">What</span> has become of the cast-off coats</p>
+			<p class="i2">That covered Will Shakespeare’s back?</p>
+			<p>What has become of the old row-boats</p>
+			<p class="i2">Of Kidd and his pirate pack?</p>
+		</div>
+
+		<div class="stanza">
+			<p>Where are the scarfs that Lord Byron wore?</p>
+			<p class="i2">Where are poor Shelley’s cuffs?</p>
+			<p>What has become of that wondrous store</p>
+			<p class="i2">Of Queen Elizabeth’s ruffs?</p>
+		</div>
+
+		<div class="stanza">
+			<p>Where are the slippers of Ferdinand?</p>
+			<p class="i2">Where are Marc Antony’s clothes?</p>
+			<p><a class="pagenum" id="page63" title="63"> </a>Where are the gloves from Antoinette’s hand?</p>
+			<p class="i2">Where Oliver Goldsmith’s hose?</p>
+		</div>
+
+		<div class="stanza">
+			<p>I do not search for the ships of Tyre—</p>
+			<p class="i2">The grave of Whittington’s cat</p>
+			<p>Would sooner set my spirit on fire—</p>
+			<p class="i2">Or even Beau Brummel’s hat.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And when I reflect that there are spots</p>
+			<p class="i2">In the world that I can’t find,</p>
+			<p>Where lie these same identical lots,</p>
+			<p class="i2">And many of this same kind,</p>
+		</div>
+
+		<div class="stanza">
+			<p>I’m tempted to give a store of gold</p>
+			<p class="i2">To him that will bring to me</p>
+			<p>A glass, Earth’s mysteries to unfold,</p>
+			<p class="i2">And show me where these things be.</p>
+		</div>
+	</div>
+
+<h3 id="poem_38" class="poem_title"><a class="pagenum" id="page64" title="64">&nbsp;</a>MEMORIES</h3>
+
+	<div class="poem">
+		<p><span class="first_word">Yon</span> maiden once a jester did adore,</p>
+		<p class="i2">Who early died and in the church-yard sleeps.</p>
+		<p>Once in a while she reads his best jokes o’er</p>
+		<p class="i2">And sits her down and madly, sorely weeps.</p>
+	</div>
+
+<h3 id="poem_39" class="poem_title"><a class="pagenum" id="page65" title="65">&nbsp;</a>A SAD STATE</h3>
+
+	<div class="poem">
+		<p><span class="first_word">I know</span> a man in Real Estate,</p>
+		<p class="i2">Whose pride of self’s sublime.</p>
+		<p>He’d like to be a poet great</p>
+		<p class="i2">But “can’t afford the time.”</p>
+	</div>
+
+<h3 id="poem_40" class="poem_title"><a class="pagenum" id="page66" title="66">&nbsp;</a>AD ASTRA PER OTIUM</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">As</span> I read over old John Dryden’s verse,</p>
+			<p class="i2">The rhymes of men like William Blake, and Gay,</p>
+			<p>The stuff that helped fill Edmund Waller’s purse,</p>
+			<p class="i2">And that which placed on Marvell’s brow the bay,</p>
+		</div>
+
+		<div class="stanza">
+			<p>It doth appear to me that in those times</p>
+			<p class="i2">The Muses quaffed not sparkling wine, but grog,</p>
+			<p>And that to grow immortal through one’s rhymes</p>
+			<p class="i2">Was ’bout as hard as falling off a log.</p>
+		</div>
+	</div>
+
+<h3 id="poem_41" class="poem_title"><a class="pagenum" id="page67" title="67">&nbsp;</a>CONSOLATION</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Shakespeare</span> was not accounted great</p>
+			<p>When good Queen Bess ruled England’s state,</p>
+			<p>So why should I to-day repine</p>
+			<p>Because the laurel is not mine?</p>
+		</div>
+
+		<div class="stanza">
+			<p>Perhaps in twenty-ninety-three</p>
+			<p>Folks will begin to talk of me,</p>
+			<p>And somewhere statues may be built</p>
+			<p>Of me, in bronze, perhaps in gilt,</p>
+		</div>
+
+		<div class="stanza">
+			<p>And sages full of quips and quirks</p>
+			<p>Will wonder if I wrote my works.</p>
+			<p>So why should I repine to-day</p>
+			<p>Because my brow wears not the bay?</p>
+		</div>
+	</div>
+
+<h3 id="poem_42" class="poem_title"><a class="pagenum" id="page68" title="68">&nbsp;</a>SATISFACTION<br />
+	<span class="poem_subtitle">ON READING “NOT ONE DISSATISFIED,”
+		BY WALT WHITMAN</span></h3>
+
+	<div class="poem">
+		<p><span class="first_word">God</span> spare the day when I am satisfied!</p>
+		<p>Enough is truly likened to a feast that leaves man satiate.</p>
+		<p>The sluggishness of fulness comes apace; the dulness of a mind that knows all things.</p>
+		<p>The lack of every sweet desire; no new sensation for the soul!</p>
+		<p>To want no more?</p>
+		<p>What vile estate is that?</p>
+		<p>What holds the morrow for the soul that’s satisfied?</p>
+		<p>What holds the future for the mind content?</p>
+		<p>Is aspiration worthless?</p>
+		<p><a class="pagenum" id="page69" title="69"> </a>Is much-abused ambition then so vile?</p>
+		<p>What is the essence of the joy of living?</p>
+		<p>Must yesterday, to-morrow, and to-day all be the same,</p>
+		<p>With nothing to be hoped for?</p>
+		<p>Is not a soul athirst a joyous thing?</p>
+		<p>Where lies content to him whose eye doth rest on higher things?</p>
+		<p>What satiation can compare to hope?</p>
+		<p>Yet who among the satisfied hath need of hope?</p>
+		<p>What can he hope for if he’s satisfied?</p>
+		<p>’Tis but conceit, and nothing more, to prate of satisfaction!</p>
+		<p>God spare the day when I am satisfied!</p>
+		<p>I do not want the earth,</p>
+		<p>Yet nothing less will leave me quite content;</p>
+		<p>And once ’tis mine,</p>
+		<p>I’m very sure you’ll find me roaming off</p>
+		<p>After the universe!</p>
+	</div>
+
+<h3 id="poem_43" class="poem_title"><a class="pagenum" id="page70" title="70">&nbsp;</a>TO A WITHERED ROSE</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Thy</span> span of life was all too short—</p>
+			<p class="i2">A week or two at best—</p>
+			<p>From budding-time, through blossoming,</p>
+			<p class="i2">To withering and rest.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Yet compensation hast thou—aye!—</p>
+			<p class="i2">For all thy little woes;</p>
+			<p>For was it not thy happy lot</p>
+			<p class="i2">To live and die a rose?</p>
+		</div>
+	</div>
+
+<h3 id="poem_44" class="poem_title"><a class="pagenum" id="page71" title="71">&nbsp;</a>THE WORST OF ENEMIES</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I do</span> not fear an enemy</p>
+			<p>Who all his days hath hated me.</p>
+		</div>
+
+		<div class="stanza">
+			<p>I do not bother o’er a foe</p>
+			<p>Whose name and face I do not know.</p>
+		</div>
+
+		<div class="stanza">
+			<p>I mind me not the small attack</p>
+			<p>Of him who bites behind my back:</p>
+		</div>
+
+		<div class="stanza">
+			<p>But Heaven help me to the end</p>
+			<p>’Gainst that one who was once my friend.</p>
+		</div>
+	</div>
+
+<h3 id="poem_45" class="poem_title"><a class="pagenum" id="page72" title="72">&nbsp;</a>JOKES OF THE NIGHT</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Blessed</span> jokes of my dreams! Your praises I’d sing.</p>
+			<p>No mirth can compare to the mirth that you bring.</p>
+			<p>I’ve read London <cite>Punch</cite> from beginning to end,</p>
+			<p>On all comic papers much money I spend,</p>
+			<p>But naught that is in them can ever seem bright</p>
+			<p>Beside the rich jokes that I dream of at night.</p>
+		</div>
+
+		<div class="stanza">
+			<p>How I laugh at those jests of my brain when at rest,</p>
+			<p>The gladdest and merriest, sweetest and best!</p>
+			<p><a class="pagenum" id="page73" title="73"> </a>And how, when I wake in the morning and try</p>
+			<p>To call them to mind, oh how bashful, how shy</p>
+			<p>They seem, how they scatter and hide out of sight—</p>
+			<p>Those jokes of my dreamings, those jests of the night!</p>
+		</div>
+
+		<div class="stanza">
+			<p>Take the one that came to me to-day just at dawn:</p>
+			<p>The Cable-Car turns and remarks to the Prawn,</p>
+			<p>“The Crowbar is seasick; but then what of that,</p>
+			<p>As long as the Camel won’t wear a silk hat?”</p>
+			<p>I laughed—why, I laughed till my wife had a fright</p>
+			<p>For fear I’d go wild from that joke of the night.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And they’re all much like that one—elusive enough,</p>
+			<p>Yet full of facetious, hilarious stuff—</p>
+			<p><a class="pagenum" id="page74" title="74"> </a>Stuff past comprehension, stuff no man dares tell;</p>
+			<p>For nocturnal jests, e’en told ever so well—</p>
+			<p>’Tis odd it should be so—are not often bright,</p>
+			<p>Except to the dreamer who dreams them at night.</p>
+		</div>
+	</div>
+
+<h3 id="poem_46" class="poem_title"><a class="pagenum" id="page75" title="75">&nbsp;</a>AN AUTUMNAL ROMANCE</h3>
+
+	<div class="poem">
+		<p><span class="first_word">A leaf</span> fell in love with the soft green lawn,</p>
+		<p class="i2">He deemed her the sweetest and best,</p>
+		<p>And then on a dreary November dawn</p>
+		<p class="i2">He withered and died on her breast.</p>
+	</div>
+
+<h3 id="poem_47" class="poem_title"><a class="pagenum" id="page76" title="76">&nbsp;</a>THE COUNTRY IN JULY</h3>
+
+	<div class="poem">
+		<p><span class="first_word">Where</span> glistening in the softness of the night</p>
+		<p>The vagrant will-o’-wisps do greet the sight;</p>
+		<p>Where fragrance baffling permeates the breeze</p>
+		<p>That gently flouts the grasses and the trees;</p>
+		<p>Where every flying thing doth seem to be</p>
+		<p>Instinct with sweetly sensuous melody;</p>
+		<p>Where hills and dales assume their warmest phase,</p>
+		<p>With here and there a scarf of opal haze</p>
+		<p>To soften their luxuriant attire;</p>
+		<p>Where one can almost hear the elfin choir</p>
+		<p><a class="pagenum" id="page77" title="77"> </a>Across the meadow-land, down in the wood,</p>
+		<p>In songs of gladness—there are all things good.</p>
+		<p>Ah! ye who seek the spot where joys abide,</p>
+		<p>Awake! Awake! Seek out the country-side,</p>
+		<p>And through the blue-gray July haze see life</p>
+		<p>All free from care, from sorrow, and from strife.</p>
+	</div>
+
+<h3 id="poem_48" class="poem_title"><a class="pagenum" id="page78" title="78">&nbsp;</a>MAY 30, 1893</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">It</span> seemed to be but chance, yet who shall say</p>
+			<p>That ’twas not part of Nature’s own sweet way,</p>
+		</div>
+
+		<div class="stanza">
+			<p>That on the field where once the cannon’s breath</p>
+			<p>Lay many a hero cold and stark in death,</p>
+		</div>
+
+		<div class="stanza">
+			<p>Some little children, in the after-years,</p>
+			<p>Had come to play among the grassy spears,</p>
+		</div>
+
+		<div class="stanza">
+			<p>And, all unheeding, when their romp was done,</p>
+			<p>Had left a wreath of wild flowers over one</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page79" title="79"> </a>Who fought to save his country, and whose lot</p>
+			<p>It was to die unknown and rest forgot?</p>
+		</div>
+	</div>
+
+<h3 id="poem_49" class="poem_title"><a class="pagenum" id="page80" title="80">&nbsp;</a>THE CURSE OF WEALTH</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p>“<span class="first_word">What</span> shall I put my dollars in?” he asked, in wild dismay.</p>
+			<p class="i2">“I’ve fifty thousand of ’em, and I’d like to keep ’em too.</p>
+			<p>I’d like to put them by to serve some future rainy day,</p>
+			<p class="i2">But in these times of queer finance what can a fellow do?</p>
+		</div>
+
+		<div class="stanza">
+			<p>“A railway bond is picturesque, and the supply is great,</p>
+			<p class="i2">But strangely like a novel that upon occasion drags,</p>
+			<p>Of which the critics of the time in hackneyed phrases state,</p>
+			<p class="i2">‘The work has certain value, but the int’rest often flags!’</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page81" title="81"> </a>“The same is true of railway shares, ’tis safer to invest</p>
+			<p class="i2">In ploughshares, so it seems to me, in this unhappy time.</p>
+			<p>Some think great wealth a blessing, but it cannot stand the test;</p>
+			<p class="i2">He’s happier by far than I who’s but a single dime.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“He does not lie awake at night and fret and fume, to think</p>
+			<p class="i2">Of bank officials on a spree with what he’s toiled to get.</p>
+			<p>He is not driven by his woe quite to the verge of drink</p>
+			<p class="i2">By wondering if his balance in the bank remains there yet.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“He does not pick the paper up in terror every night</p>
+			<p class="i2">To see if V.B.G. is up, or P.D.Q. is down;</p>
+			<p>It does not fill his anxious soul with nerve-destroying fright</p>
+			<p class="i2">To hear the Wall Street rumors that are flying ’bout the town.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page82" title="82"> </a>“Ah, better had I ta’en that cash that I have skimped to save,</p>
+			<p class="i2">And spent it on my living and my pleasures day by day!</p>
+			<p>I would not now be goaded nigh unto my waiting grave,</p>
+			<p class="i2">By wondering how the deuce to keep those dollars mine for aye.</p>
+		</div>
+
+		<div class="stanza">
+			<p>“I’d not be bankrupt in my nerves and prematurely old,</p>
+			<p class="i2">These golden shackles must be burst; I must again be free.</p>
+			<p>What Ho without! My ducats—to the winds with all my gold,</p>
+			<p class="i2">That I may once again enjoy the rest of poverty.”</p>
+		</div>
+	</div>
+
+<h3 id="poem_50" class="poem_title"><a class="pagenum" id="page83" title="83">&nbsp;</a>THE RHYME OF THE ANCIENT POPULIST</h3>
+
+	<div class="poem">
+		<p><span class="first_word">It</span> was an ancient populist,</p>
+		<p class="i2">His beard was long and gray,</p>
+		<p>And punctuated by his fist,</p>
+		<p class="i2">He had his little say:</p>
+		<p>“This is the age of gold,” he said,</p>
+		<p>“’Tis gold for butter, gold for bread,</p>
+		<p>Gold for bonds and gold for fun;</p>
+		<p>Gold for all things ’neath the sun.”</p>
+		<p class="i6">Then with a smile</p>
+		<p class="i8">He shook his head.</p>
+		<p class="i6">“Just wait awhile,”</p>
+		<p class="i8">He slyly said.</p>
+		<p>“When we get in and run the State</p>
+		<p>We’ll tackle gold, we’ll legislate.</p>
+		<p class="i6">We’ll pass an act</p>
+		<p class="i6">And make a fact</p>
+		<p>By which these gold-bugs will be whacked</p>
+		<p class="i6"><a class="pagenum" id="page84" title="84"> </a>Till they’re as cold</p>
+		<p class="i6">As is their gold.</p>
+		<p>We’re going to make a statute law by which ’twill be decreed</p>
+		<p>That standards are abolished, for a standard favors greed.</p>
+		<p>This is the country of the free, and free this land shall be</p>
+		<p>As soon as we the ‘people’ have our opportunity,</p>
+		<p>And he who has to pay a bill</p>
+		<p>Can pay in whate’er suits his will.</p>
+		<p>The tailor? Let him take his coats</p>
+		<p class="i6">And pay his notes;</p>
+		<p class="i6">Or if perchance</p>
+		<p class="i6">He’s long on pants,</p>
+		<p class="i6">Let trousers be</p>
+		<p class="i6">His <em>£. s. d.</em></p>
+		<p>The baker! Let his landlord take</p>
+		<p class="i6">His rent in cake,</p>
+		<p>Or anything the man can bake.</p>
+		<p>And if a plumber wants a crumb,</p>
+		<p>He may unto the baker come</p>
+		<p class="i10">And plumb.</p>
+		<p>A joker needing hats or cloaks</p>
+		<p>Can go and pay for them with jokes,</p>
+		<p><a class="pagenum" id="page85" title="85"> </a>And so on: what a fellow’s got</p>
+		<p>Shall pay for things that he has not.</p>
+		<p>If beggars’ rags were cash, you’d see</p>
+		<p>No longer any beggary;</p>
+		<p>In short, there’d be no poverty.”</p>
+		<p>“A splendid scheme,” quoth I; “but stay!</p>
+		<p>What of the nation’s credit, pray?”</p>
+		<p>“Ha-ha! ho-ho!” he loudly roared.</p>
+		<p>“We’ll leave that problem to the Lord.</p>
+		<p>And if He fails to keep us straight</p>
+		<p>Once more we’ll have to legislate,</p>
+		<p class="i6">And so create,</p>
+		<p class="i6">Confounding greed,</p>
+		<p>As much of credit as we need.”</p>
+	</div>
+
+<h3 id="poem_51" class="poem_title"><a class="pagenum" id="page86" title="86">&nbsp;</a>ONE OF THE NAMELESS GREAT</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">I knew</span> a man who died in days of yore,</p>
+			<p class="i2">To whom no monument is like to rise;</p>
+			<p>And yet there never lived a mortal more</p>
+			<p class="i2">Deserving of a shaft to pierce the skies.</p>
+		</div>
+
+		<div class="stanza">
+			<p>His chiefest wish strong friendships was to make;</p>
+			<p class="i2">He cared but little for this poor world’s pelf;</p>
+			<p>He shared his joys with every one who’d take,</p>
+			<p class="i2">And kept his sorrows strictly to himself.</p>
+		</div>
+	</div>
+
+<h3 id="poem_52" class="poem_title"><a class="pagenum" id="page87" title="87">&nbsp;</a>IN FEBRUARY DAYS</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Fair</span> Nature, like the mother of a wayward child</p>
+			<p class="i2">Who needs must chide the offspring of her heart,</p>
+			<p>Disguiseth for a season all the sweet and mild</p>
+			<p class="i2">Maternal softness for an austere part.</p>
+		</div>
+
+		<div class="stanza">
+			<p>And ’neath her frown the errant earth in winter seems</p>
+			<p class="i2">Prostrate to lie, and petulant of mood;</p>
+			<p>Restrained in icy fetters all the babbling streams,</p>
+			<p class="i2">Like naughty babes who’re learning to be good.</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page88" title="88"> </a>Then, in this second month, most motherlike again,</p>
+			<p class="i2">The frown assumed gives now and then a place</p>
+			<p>To soft indulgent glances, lessening the pain,</p>
+			<p class="i2">And hints of spring and pardon light her face.</p>
+		</div>
+	</div>
+
+<h3 id="poem_53" class="poem_title"><a class="pagenum" id="page89" title="89">&nbsp;</a>A CHANGE OF AMBITION</h3>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Horatius</span> at the bridge, and he</p>
+			<p>Who fought at old Thermopylæ;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Great Samson and his potent bone</p>
+			<p>By which the Philistines were slone;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Small David with his wondrous aim</p>
+			<p>That did for him of giant frame;</p>
+		</div>
+
+		<div class="stanza">
+			<p>J. Cæsar in his Gallic scraps</p>
+			<p>That made him lord of other chaps;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Sweet William, called the Conqueror,</p>
+			<p>Who made the Briton sick of war;</p>
+		</div>
+
+		<div class="stanza">
+			<p><a class="pagenum" id="page90" title="90"> </a>King Hal the Fifth, who nobly fought</p>
+			<p>And thrashed the foe at Agincourt;</p>
+		</div>
+
+		<div class="stanza">
+			<p>Old Bonaparte, and Washington,</p>
+			<p>And Frederick, and Wellington,</p>
+		</div>
+
+		<div class="stanza">
+			<p>Decatur, Nelson, Fighting Joe,</p>
+			<p>And Farragut, and Grant, and, oh,</p>
+		</div>
+
+		<div class="stanza">
+			<p>A thousand other heroes I</p>
+			<p>Have wished I were in days gone by—</p>
+		</div>
+
+		<div class="stanza">
+			<p>Can take their laurels from my door,</p>
+			<p>For I don’t want ’em any more.</p>
+		</div>
+
+		<div class="stanza">
+			<p>The truth will out; it can’t be hid;</p>
+			<p>The doughty deed that Dewey did,</p>
+		</div>
+
+		<div class="stanza">
+			<p>In that far distant Spanish sea,</p>
+			<p>Is really good enough for me.</p>
+		</div>
+
+		<div class="stanza">
+			<p>The grammar’s bad, but, O my son,</p>
+			<p>I wish I’d did what Dewey done!</p>
+		</div>
+	</div>
+
+<h3 id="poem_54" class="poem_title"><a class="pagenum" id="page91" title="91">&nbsp;</a>MESSAGE FROM MAHATMAS</h3>
+
+	<p class="inspiration"><span class="first_word">Onset Bay, Massachusetts</span>, <em>May 24, 18—.</em>—Theosophists
+		and others at Onset Bay Camp Grounds have
+		been greatly excited of late by a message which has
+		been received from the Mahatmas, Koot Hoomi, and
+		his partner, who are summering in the desert of Gobi.
+		The message is of considerable length, and contains
+		much that is purely personal.—<cite>Daily Newspaper</cite>.</p>
+
+	<div class="poem">
+		<div class="stanza">
+			<p><span class="first_word">Sound</span> the timbrel, beat the drum!</p>
+			<p>Word from the Mahatma’s come.</p>
+			<p>Straight from Hoomi Koot &amp; Co.</p>
+			<p>Comes the note to us below,</p>
+			<p>Full of joy and gossiping.</p>
+			<p>Hoomi Koot is summering</p>
+			<p>In the desert waste of Gobi,</p>
+			<p>In a cottage of adobe.</p>
+			<p>All the little Koots are well.</p>
+			<p>Tommy Koot has learned to spell.</p>
+			<p>Mrs. Koot is busy on</p>
+			<p>Papers on “The Great Anon,”</p>
+			<p><a class="pagenum" id="page92" title="92"> </a>Which by special cable soon,</p>
+			<p>From her workshop in the moon,</p>
+			<p>Will be sent to us below</p>
+			<p>By grand Hoomi Koot &amp; Co.</p>
+		</div>
+
+		<div class="stanza">
+			<p>We are told that Maggie Koot</p>
+			<p>Looks well in her golfing suit;</p>
+			<p>And her brand-new Astral Bike</p>
+			<p>Is the best they’ve seen this cike—</p>
+			<p>Cike is slang for cycle, so</p>
+			<p>I have learned from Koot &amp; Co.</p>
+			<p>Soon she’s going to take a run</p>
+			<p>Out from Gobi to the sun,</p>
+			<p>After which she thinks to race</p>
+			<p>For the Championship of Space,</p>
+			<p>And a trophy given by</p>
+			<p>The Grand High Pasupati.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Baby Koot has learned to walk,</p>
+			<p>And likewise, ’tis said, to talk;</p>
+			<p>But, to Mrs. Koot’s dismay,</p>
+			<p>Seems to have a funny way:</p>
+			<p>Full of questions, “Why and How,”</p>
+			<p>All about the sacred cow.</p>
+			<p>Questions of a flippant ilk,</p>
+			<p>Like “Is Buddha made of milk?”</p>
+			<p><a class="pagenum" id="page93" title="93"> </a>Questions void of answers spite</p>
+			<p>Of his parents’ second sight.</p>
+			<p>What to do with Baby Koot</p>
+			<p>Worries all the whole cahoot.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Finally the message ends</p>
+			<p>With best love to all our friends.</p>
+			<p>Give our enemies a twist.</p>
+			<p>Let each true theoso-fist</p>
+			<p>Strike a thunder-hitting blow</p>
+			<p>For the firm of Koot &amp; Co.;</p>
+			<p>Strike till black is every eye</p>
+			<p>Doubting our theosophy.</p>
+			<p>And impress on every tribe</p>
+			<p><em>Now’s the season to subscribe.</em></p>
+			<p>Guard against the coming storm;</p>
+			<p>Keep our astral bodies warm.</p>
+			<p>Give us bonnets for the head;</p>
+			<p>Keep our spirit stomachs fed.</p>
+			<p>Let your glad remittance go</p>
+			<p>Out to Hoomi Koot &amp; Co.,</p>
+			<p>Through their Agents on the earth,</p>
+			<p>Men and women full of worth;</p>
+			<p>And when next a message comes</p>
+			<p>From the Koots down to their chums,</p>
+			<p><a class="pagenum" id="page94" title="94"> </a>Those who’ve paid their money down</p>
+			<p>Will receive a harp and crown.</p>
+		</div>
+
+		<div class="stanza">
+			<p>Step up lively! now’s the time</p>
+			<p>For your nickel and your dime,</p>
+			<p>To provide for winter suits</p>
+			<p>For the grand Mahatma Koots.</p>
+			<p>Furthermore, be not too brash,</p>
+			<p>Send it up in solid cash.</p>
+			<p>Astral money, it may be,</p>
+			<p>Circulates in theory;</p>
+			<p>But ’tis best to give us cold,</p>
+			<p>Bilious, drossy, filthy gold.</p>
+		</div>
+
+		<div class="stanza">
+			<p>All our blessings to you go.</p>
+			<p>Yours, for health,</p>
+			<p class="i12">H. Koots &amp; Co.</p>
+		</div>
+	</div>
+
+<h3 id="poem_55" class="poem_title"><a class="pagenum" id="page95" title="95">&nbsp;</a>THE GOLD-SEEKERS</h3>
+
+	<div class="poem">
+		<p class="i8"><span class="first_word">Gold</span>, gold, gold!</p>
+		<p>What care we for hunger and cold?</p>
+		<p>What care we for the moil and strife,</p>
+		<p>Or the thousands of foes to health and life,</p>
+		<p>When there’s gold for the mighty, and gold for the meek,</p>
+		<p>And gold for whoever shall dare to seek?</p>
+		<p class="i4">Untold</p>
+		<p class="i4">Is the gold;</p>
+		<p>And it lies in the reach of the man that’s bold:</p>
+		<p>In the hands of the man who dares to face</p>
+		<p>The death in the blast, that blows apace;</p>
+		<p>That withers the leaves on the forest tree;</p>
+		<p>That fetters with ice all the northern sea;</p>
+		<p><a class="pagenum" id="page96" title="96"> </a>That chills all the green on the fair earth’s breast,</p>
+		<p>And as certainly kills as the un-stayed pest.</p>
+		<p>It lies in the hands of the man who’d sell</p>
+		<p>His hold on his life for an ice-bound hell.</p>
+		<p>What care we for the fevered brain</p>
+		<p>That’s filled with ravings and thoughts insane,</p>
+		<p class="i4">So long as we hold</p>
+		<p class="i4">In our hands the gold?—</p>
+		<p>The glistening, glittering, ghastly gold</p>
+		<p>That comes at the end of the hunger and cold;</p>
+		<p>That comes at the end of the awful thirst;</p>
+		<p>That comes through the pain and torture accurst</p>
+		<p>Of limbs that are racked and minds o’erthrown,</p>
+		<p>The gold lies there and is all our own,</p>
+		<p class="i4"><a class="pagenum" id="page97" title="97"> </a>Be we mighty or meek,</p>
+		<p class="i4">If we do but seek.</p>
+		<p>For the hunger is sweet and the cold is fair</p>
+		<p>To the man whose riches are past compare;</p>
+		<p>And the o’erthrown mind is as good as sane,</p>
+		<p>And a joy to the limbs is the racking pain,</p>
+		<p class="i4">If the gold is there.</p>
+		<p>And they say, if you fail, in your dying day</p>
+		<p>All the tears, all the troubles, are wiped away</p>
+		<p>By the fever-thought of your shattered mind</p>
+		<p>That a cruel world has at last grown kind;</p>
+		<p>That your hands o’errun with the clinking gold,</p>
+		<p>With nuggets of weight and of worth untold,</p>
+		<p class="i4">And your vacant eyes</p>
+		<p>Gloat o’er the riches of Paradise!</p>
+	</div>
+
+<h3 id="poem_56" class="poem_title"><a class="pagenum" id="page98" title="98">&nbsp;</a>ODE TO A POLITICIAN</h3>
+
+	<div class="poem">
+		<p><span class="first_word">All</span> hail to thee, O son of Æolus!</p>
+		<p>All hail to thee, most high Borean lord!</p>
+		<p>The lineal descendant of the Winds art thou.</p>
+		<p>Child of the Cyclone,</p>
+		<p>Cousin to the Hurricane,</p>
+		<p>Tornado’s twin,</p>
+		<p class="i8">All hail!</p>
+		<p>The zephyrs of the balmy south</p>
+		<p class="i8">Do greet thee;</p>
+		<p>The eastern winds, great Boston’s pride,</p>
+		<p>In manner osculate caress thy massive cheek;</p>
+		<p class="i8">Freeze onto thee,</p>
+		<p>And at thy word throw off congealment</p>
+		<p>And take on a soft caloric mood;</p>
+		<p>And from afar,</p>
+		<p>From Afric’s strand,</p>
+		<p><a class="pagenum" id="page99" title="99"> </a>Siroccan greetings come to thee!</p>
+		<p>The monsoon and simoom,</p>
+		<p>In the soft empurpled Orient,</p>
+		<p>At mention of thy name</p>
+		<p>Doff all the hats of Heathendom!</p>
+		<p>And all combined in one vast aggregation,</p>
+		<p>Cry out hail, hail, thrice hail to thee,</p>
+		<p>Who after years, and centuries, and cycles e’en,</p>
+		<p>Hast made the winds incarnate!</p>
+		<p class="i8">To thee</p>
+		<p class="i8">The visible expression in the flesh,</p>
+		<p class="i8">Material and tangible,</p>
+		<p>Of all that goes to make the element</p>
+		<p>That rages, blusters, blasts, and blows!</p>
+		<p>And if the poet’s mind speaks true,</p>
+		<p>If he can penetrate their purposes at all,</p>
+		<p>It is not far from their intent</p>
+		<p><a class="pagenum" id="page100" title="100"> </a>To lift thee on their broad November wings</p>
+		<p class="i8">So high</p>
+		<p>That none but gods can ever hope</p>
+		<p>Again to gaze upon thy face!</p>
+	</div>
+
+<h3 id="poem_57" class="poem_title"><a class="pagenum" id="page101" title="101">&nbsp;</a>SOME ARE AMATEURS</h3>
+
+	<div class="poem">
+		<p><span class="first_word">Shakespeare</span> was partly wrong—the world’s a stage,</p>
+		<p class="i2">This is admitted by the bard’s detractors.</p>
+		<p>Had William seen some Hamlets of this age</p>
+		<p class="i2">He’d not have called <em>all</em> men upon it actors.</p>
+	</div>
+
+<!-- <a class="pagenum disguise" id="page102" title="102">&nbsp;</a>[Blank Page] -->
+
+
+
+<div id="advertisement">
+	<p class="advert_title"><a class="pagenum disguise" id="page103" title="103"> </a>LITTLE BOOKS<br />
+	BY FAMOUS WRITERS</p>
+	<ul>
+		<li><p class="ad_title"><strong>The First Christmas</strong> (From “Ben-Hur”)</p>
+		<p class="ad_author">By Lew. Wallace</p></li>
+
+		<li><p class="ad_title"><strong>The Story of the Other Wise Man</strong></p>
+		<p class="ad_author">By Henry van Dyke</p></li>
+
+		<li><p class="ad_title"><strong>Two Gentlemen of Kentucky</strong></p>
+		<p class="ad_author">By James Lane Allen</p></li>
+
+		<li><p class="ad_title"><strong>Episodes in Van Bibber’s Life</strong></p>
+		<p class="ad_author">By Richard Harding Davis</p></li>
+
+		<li><p class="ad_title"><strong>Good for the Soul</strong></p>
+		<p class="ad_author">By Margaret Deland</p></li>
+
+		<li><p class="ad_title"><strong>Evelina’s Garden</strong></p>
+		<p class="ad_author">By Mary E. Wilkins</p></li>
+
+		<li><p class="ad_title"><strong>Cobwebs from a Library Corner</strong> (Verses)</p>
+		<p class="ad_author">By John Kendrick Bangs</p></li>
+
+		<li><p class="ad_title"><strong>The Woman’s Exchange</strong></p>
+		<p class="ad_author">By Ruth McEnery Stuart</p></li>
+
+		<li><p class="ad_title"><strong>The Captured Dream</strong></p>
+		<p class="ad_author">By Octave Thanet</p></li>
+
+		<li><p class="ad_title"><strong>Stories of Peace and War</strong></p>
+		<p class="ad_author">By Frederic Remington</p></li>
+	</ul>
+	<div id="ad_closing">
+		<p>Uniform with this Volume—with Frontispiece<br />
+	               <em>Fifty Cents a Volume</em></p>
+		<p>HARPER &amp; BROTHERS, <strong class="ad_pub">Publishers</strong></p>
+		<p>NEW YORK AND LONDON</p>
+	</div>
+	<p class="ad_close"><span class="fist">☞</span>Any of the above works will be sent by mail,
+	postage prepaid, to any part of the United States, Canada,
+	or Mexico, on receipt of the price.</p>
+</div>
+<p id="the-end">&nbsp;</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Cobwebs from a Library Corner, by 
+John Kendrick Bangs
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+***** This file should be named 27534-h.htm or 27534-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/7/5/3/27534/
+
+Produced by Barbara Tozier, Bill Tozier 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>
diff --git a/27534-h/images/cover.jpg b/27534-h/images/cover.jpg
new file mode 100644
index 0000000..d26180d
--- /dev/null
+++ b/27534-h/images/cover.jpg
diff --git a/27534-h/images/device.jpg b/27534-h/images/device.jpg
new file mode 100644
index 0000000..490691d
--- /dev/null
+++ b/27534-h/images/device.jpg
diff --git a/27534-h/images/frontis.jpg b/27534-h/images/frontis.jpg
new file mode 100644
index 0000000..d6d0bf3
--- /dev/null
+++ b/27534-h/images/frontis.jpg
diff --git a/27534-page-images/c0001-image1.jpg b/27534-page-images/c0001-image1.jpg
new file mode 100644
index 0000000..50b4abf
--- /dev/null
+++ b/27534-page-images/c0001-image1.jpg
diff --git a/27534-page-images/f0001.png b/27534-page-images/f0001.png
new file mode 100644
index 0000000..7d15a09
--- /dev/null
+++ b/27534-page-images/f0001.png
diff --git a/27534-page-images/f0002-image1.jpg b/27534-page-images/f0002-image1.jpg
new file mode 100644
index 0000000..bcf96af
--- /dev/null
+++ b/27534-page-images/f0002-image1.jpg
diff --git a/27534-page-images/f0003-image1.png b/27534-page-images/f0003-image1.png
new file mode 100644
index 0000000..33b80c2
--- /dev/null
+++ b/27534-page-images/f0003-image1.png
diff --git a/27534-page-images/f0003.png b/27534-page-images/f0003.png
new file mode 100644
index 0000000..ddd3d38
--- /dev/null
+++ b/27534-page-images/f0003.png
diff --git a/27534-page-images/f0004.png b/27534-page-images/f0004.png
new file mode 100644
index 0000000..5feb576
--- /dev/null
+++ b/27534-page-images/f0004.png
diff --git a/27534-page-images/f0005.png b/27534-page-images/f0005.png
new file mode 100644
index 0000000..76b3588
--- /dev/null
+++ b/27534-page-images/f0005.png
diff --git a/27534-page-images/f0007.png b/27534-page-images/f0007.png
new file mode 100644
index 0000000..100a7e6
--- /dev/null
+++ b/27534-page-images/f0007.png
diff --git a/27534-page-images/f0008.png b/27534-page-images/f0008.png
new file mode 100644
index 0000000..43a33b5
--- /dev/null
+++ b/27534-page-images/f0008.png
diff --git a/27534-page-images/f0009.png b/27534-page-images/f0009.png
new file mode 100644
index 0000000..b327850
--- /dev/null
+++ b/27534-page-images/f0009.png
diff --git a/27534-page-images/p0001.png b/27534-page-images/p0001.png
new file mode 100644
index 0000000..c8d3eb0
--- /dev/null
+++ b/27534-page-images/p0001.png
diff --git a/27534-page-images/p0002.png b/27534-page-images/p0002.png
new file mode 100644
index 0000000..b230808
--- /dev/null
+++ b/27534-page-images/p0002.png
diff --git a/27534-page-images/p0003.png b/27534-page-images/p0003.png
new file mode 100644
index 0000000..59b1f06
--- /dev/null
+++ b/27534-page-images/p0003.png
diff --git a/27534-page-images/p0004.png b/27534-page-images/p0004.png
new file mode 100644
index 0000000..ecd2f23
--- /dev/null
+++ b/27534-page-images/p0004.png
diff --git a/27534-page-images/p0005.png b/27534-page-images/p0005.png
new file mode 100644
index 0000000..1886dc1
--- /dev/null
+++ b/27534-page-images/p0005.png
diff --git a/27534-page-images/p0006.png b/27534-page-images/p0006.png
new file mode 100644
index 0000000..76e71b8
--- /dev/null
+++ b/27534-page-images/p0006.png
diff --git a/27534-page-images/p0007.png b/27534-page-images/p0007.png
new file mode 100644
index 0000000..30325f3
--- /dev/null
+++ b/27534-page-images/p0007.png
diff --git a/27534-page-images/p0008.png b/27534-page-images/p0008.png
new file mode 100644
index 0000000..a34231f
--- /dev/null
+++ b/27534-page-images/p0008.png
diff --git a/27534-page-images/p0009.png b/27534-page-images/p0009.png
new file mode 100644
index 0000000..834cf15
--- /dev/null
+++ b/27534-page-images/p0009.png
diff --git a/27534-page-images/p0010.png b/27534-page-images/p0010.png
new file mode 100644
index 0000000..34fa1a0
--- /dev/null
+++ b/27534-page-images/p0010.png
diff --git a/27534-page-images/p0011.png b/27534-page-images/p0011.png
new file mode 100644
index 0000000..e0514c9
--- /dev/null
+++ b/27534-page-images/p0011.png
diff --git a/27534-page-images/p0012.png b/27534-page-images/p0012.png
new file mode 100644
index 0000000..759c52d
--- /dev/null
+++ b/27534-page-images/p0012.png
diff --git a/27534-page-images/p0013.png b/27534-page-images/p0013.png
new file mode 100644
index 0000000..d4c5caf
--- /dev/null
+++ b/27534-page-images/p0013.png
diff --git a/27534-page-images/p0014.png b/27534-page-images/p0014.png
new file mode 100644
index 0000000..f4b8ec6
--- /dev/null
+++ b/27534-page-images/p0014.png
diff --git a/27534-page-images/p0015.png b/27534-page-images/p0015.png
new file mode 100644
index 0000000..9233573
--- /dev/null
+++ b/27534-page-images/p0015.png
diff --git a/27534-page-images/p0016.png b/27534-page-images/p0016.png
new file mode 100644
index 0000000..a52b5c4
--- /dev/null
+++ b/27534-page-images/p0016.png
diff --git a/27534-page-images/p0017.png b/27534-page-images/p0017.png
new file mode 100644
index 0000000..fa41ef1
--- /dev/null
+++ b/27534-page-images/p0017.png
diff --git a/27534-page-images/p0018.png b/27534-page-images/p0018.png
new file mode 100644
index 0000000..2753000
--- /dev/null
+++ b/27534-page-images/p0018.png
diff --git a/27534-page-images/p0019.png b/27534-page-images/p0019.png
new file mode 100644
index 0000000..da1dafc
--- /dev/null
+++ b/27534-page-images/p0019.png
diff --git a/27534-page-images/p0020.png b/27534-page-images/p0020.png
new file mode 100644
index 0000000..cc2e476
--- /dev/null
+++ b/27534-page-images/p0020.png
diff --git a/27534-page-images/p0021.png b/27534-page-images/p0021.png
new file mode 100644
index 0000000..6ab3b79
--- /dev/null
+++ b/27534-page-images/p0021.png
diff --git a/27534-page-images/p0022.png b/27534-page-images/p0022.png
new file mode 100644
index 0000000..949ea03
--- /dev/null
+++ b/27534-page-images/p0022.png
diff --git a/27534-page-images/p0023.png b/27534-page-images/p0023.png
new file mode 100644
index 0000000..6de062d
--- /dev/null
+++ b/27534-page-images/p0023.png
diff --git a/27534-page-images/p0024.png b/27534-page-images/p0024.png
new file mode 100644
index 0000000..a32770e
--- /dev/null
+++ b/27534-page-images/p0024.png
diff --git a/27534-page-images/p0025.png b/27534-page-images/p0025.png
new file mode 100644
index 0000000..08447ec
--- /dev/null
+++ b/27534-page-images/p0025.png
diff --git a/27534-page-images/p0026.png b/27534-page-images/p0026.png
new file mode 100644
index 0000000..8b667db
--- /dev/null
+++ b/27534-page-images/p0026.png
diff --git a/27534-page-images/p0027.png b/27534-page-images/p0027.png
new file mode 100644
index 0000000..3b00759
--- /dev/null
+++ b/27534-page-images/p0027.png
diff --git a/27534-page-images/p0028.png b/27534-page-images/p0028.png
new file mode 100644
index 0000000..0a4f0e2
--- /dev/null
+++ b/27534-page-images/p0028.png
diff --git a/27534-page-images/p0029.png b/27534-page-images/p0029.png
new file mode 100644
index 0000000..80065b5
--- /dev/null
+++ b/27534-page-images/p0029.png
diff --git a/27534-page-images/p0030.png b/27534-page-images/p0030.png
new file mode 100644
index 0000000..3e1f0e3
--- /dev/null
+++ b/27534-page-images/p0030.png
diff --git a/27534-page-images/p0031.png b/27534-page-images/p0031.png
new file mode 100644
index 0000000..154f6e6
--- /dev/null
+++ b/27534-page-images/p0031.png
diff --git a/27534-page-images/p0032.png b/27534-page-images/p0032.png
new file mode 100644
index 0000000..6d1ae19
--- /dev/null
+++ b/27534-page-images/p0032.png
diff --git a/27534-page-images/p0033.png b/27534-page-images/p0033.png
new file mode 100644
index 0000000..b2872f7
--- /dev/null
+++ b/27534-page-images/p0033.png
diff --git a/27534-page-images/p0034.png b/27534-page-images/p0034.png
new file mode 100644
index 0000000..8142934
--- /dev/null
+++ b/27534-page-images/p0034.png
diff --git a/27534-page-images/p0035.png b/27534-page-images/p0035.png
new file mode 100644
index 0000000..3e3b48b
--- /dev/null
+++ b/27534-page-images/p0035.png
diff --git a/27534-page-images/p0036.png b/27534-page-images/p0036.png
new file mode 100644
index 0000000..bc1e6f2
--- /dev/null
+++ b/27534-page-images/p0036.png
diff --git a/27534-page-images/p0037.png b/27534-page-images/p0037.png
new file mode 100644
index 0000000..2f9f46c
--- /dev/null
+++ b/27534-page-images/p0037.png
diff --git a/27534-page-images/p0039.png b/27534-page-images/p0039.png
new file mode 100644
index 0000000..d3ba1d6
--- /dev/null
+++ b/27534-page-images/p0039.png
diff --git a/27534-page-images/p0041.png b/27534-page-images/p0041.png
new file mode 100644
index 0000000..6d4cfef
--- /dev/null
+++ b/27534-page-images/p0041.png
diff --git a/27534-page-images/p0042.png b/27534-page-images/p0042.png
new file mode 100644
index 0000000..07a0c93
--- /dev/null
+++ b/27534-page-images/p0042.png
diff --git a/27534-page-images/p0043.png b/27534-page-images/p0043.png
new file mode 100644
index 0000000..048a1e5
--- /dev/null
+++ b/27534-page-images/p0043.png
diff --git a/27534-page-images/p0044.png b/27534-page-images/p0044.png
new file mode 100644
index 0000000..43dacd2
--- /dev/null
+++ b/27534-page-images/p0044.png
diff --git a/27534-page-images/p0045.png b/27534-page-images/p0045.png
new file mode 100644
index 0000000..446968b
--- /dev/null
+++ b/27534-page-images/p0045.png
diff --git a/27534-page-images/p0046.png b/27534-page-images/p0046.png
new file mode 100644
index 0000000..4f6e071
--- /dev/null
+++ b/27534-page-images/p0046.png
diff --git a/27534-page-images/p0047.png b/27534-page-images/p0047.png
new file mode 100644
index 0000000..41107a2
--- /dev/null
+++ b/27534-page-images/p0047.png
diff --git a/27534-page-images/p0048.png b/27534-page-images/p0048.png
new file mode 100644
index 0000000..c4ca578
--- /dev/null
+++ b/27534-page-images/p0048.png
diff --git a/27534-page-images/p0049.png b/27534-page-images/p0049.png
new file mode 100644
index 0000000..d8f630b
--- /dev/null
+++ b/27534-page-images/p0049.png
diff --git a/27534-page-images/p0050.png b/27534-page-images/p0050.png
new file mode 100644
index 0000000..259cff4
--- /dev/null
+++ b/27534-page-images/p0050.png
diff --git a/27534-page-images/p0051.png b/27534-page-images/p0051.png
new file mode 100644
index 0000000..e85fa1b
--- /dev/null
+++ b/27534-page-images/p0051.png
diff --git a/27534-page-images/p0052.png b/27534-page-images/p0052.png
new file mode 100644
index 0000000..bd9bce0
--- /dev/null
+++ b/27534-page-images/p0052.png
diff --git a/27534-page-images/p0053.png b/27534-page-images/p0053.png
new file mode 100644
index 0000000..bda0d80
--- /dev/null
+++ b/27534-page-images/p0053.png
diff --git a/27534-page-images/p0054.png b/27534-page-images/p0054.png
new file mode 100644
index 0000000..b71ddba
--- /dev/null
+++ b/27534-page-images/p0054.png
diff --git a/27534-page-images/p0055.png b/27534-page-images/p0055.png
new file mode 100644
index 0000000..da0cfd2
--- /dev/null
+++ b/27534-page-images/p0055.png
diff --git a/27534-page-images/p0056.png b/27534-page-images/p0056.png
new file mode 100644
index 0000000..ca11c5b
--- /dev/null
+++ b/27534-page-images/p0056.png
diff --git a/27534-page-images/p0057.png b/27534-page-images/p0057.png
new file mode 100644
index 0000000..cc4b040
--- /dev/null
+++ b/27534-page-images/p0057.png
diff --git a/27534-page-images/p0058.png b/27534-page-images/p0058.png
new file mode 100644
index 0000000..0b3ea64
--- /dev/null
+++ b/27534-page-images/p0058.png
diff --git a/27534-page-images/p0059.png b/27534-page-images/p0059.png
new file mode 100644
index 0000000..e47e0fd
--- /dev/null
+++ b/27534-page-images/p0059.png
diff --git a/27534-page-images/p0060.png b/27534-page-images/p0060.png
new file mode 100644
index 0000000..d747dc0
--- /dev/null
+++ b/27534-page-images/p0060.png
diff --git a/27534-page-images/p0061.png b/27534-page-images/p0061.png
new file mode 100644
index 0000000..d30ff00
--- /dev/null
+++ b/27534-page-images/p0061.png
diff --git a/27534-page-images/p0062.png b/27534-page-images/p0062.png
new file mode 100644
index 0000000..a64f292
--- /dev/null
+++ b/27534-page-images/p0062.png
diff --git a/27534-page-images/p0063.png b/27534-page-images/p0063.png
new file mode 100644
index 0000000..df9b0dc
--- /dev/null
+++ b/27534-page-images/p0063.png
diff --git a/27534-page-images/p0064.png b/27534-page-images/p0064.png
new file mode 100644
index 0000000..c264c9e
--- /dev/null
+++ b/27534-page-images/p0064.png
diff --git a/27534-page-images/p0065.png b/27534-page-images/p0065.png
new file mode 100644
index 0000000..2ea5be3
--- /dev/null
+++ b/27534-page-images/p0065.png
diff --git a/27534-page-images/p0066.png b/27534-page-images/p0066.png
new file mode 100644
index 0000000..5e46836
--- /dev/null
+++ b/27534-page-images/p0066.png
diff --git a/27534-page-images/p0067.png b/27534-page-images/p0067.png
new file mode 100644
index 0000000..114712f
--- /dev/null
+++ b/27534-page-images/p0067.png
diff --git a/27534-page-images/p0068.png b/27534-page-images/p0068.png
new file mode 100644
index 0000000..0c5a31e
--- /dev/null
+++ b/27534-page-images/p0068.png
diff --git a/27534-page-images/p0069.png b/27534-page-images/p0069.png
new file mode 100644
index 0000000..62552f2
--- /dev/null
+++ b/27534-page-images/p0069.png
diff --git a/27534-page-images/p0070.png b/27534-page-images/p0070.png
new file mode 100644
index 0000000..2ecdd6e
--- /dev/null
+++ b/27534-page-images/p0070.png
diff --git a/27534-page-images/p0071.png b/27534-page-images/p0071.png
new file mode 100644
index 0000000..46f629f
--- /dev/null
+++ b/27534-page-images/p0071.png
diff --git a/27534-page-images/p0072.png b/27534-page-images/p0072.png
new file mode 100644
index 0000000..5707f84
--- /dev/null
+++ b/27534-page-images/p0072.png
diff --git a/27534-page-images/p0073.png b/27534-page-images/p0073.png
new file mode 100644
index 0000000..c2ab4a0
--- /dev/null
+++ b/27534-page-images/p0073.png
diff --git a/27534-page-images/p0074.png b/27534-page-images/p0074.png
new file mode 100644
index 0000000..ab166ab
--- /dev/null
+++ b/27534-page-images/p0074.png
diff --git a/27534-page-images/p0075.png b/27534-page-images/p0075.png
new file mode 100644
index 0000000..a43a389
--- /dev/null
+++ b/27534-page-images/p0075.png
diff --git a/27534-page-images/p0076.png b/27534-page-images/p0076.png
new file mode 100644
index 0000000..74beef7
--- /dev/null
+++ b/27534-page-images/p0076.png
diff --git a/27534-page-images/p0077.png b/27534-page-images/p0077.png
new file mode 100644
index 0000000..fba104a
--- /dev/null
+++ b/27534-page-images/p0077.png
diff --git a/27534-page-images/p0078.png b/27534-page-images/p0078.png
new file mode 100644
index 0000000..9c22f5f
--- /dev/null
+++ b/27534-page-images/p0078.png
diff --git a/27534-page-images/p0079.png b/27534-page-images/p0079.png
new file mode 100644
index 0000000..3bbb7ba
--- /dev/null
+++ b/27534-page-images/p0079.png
diff --git a/27534-page-images/p0080.png b/27534-page-images/p0080.png
new file mode 100644
index 0000000..2b118c5
--- /dev/null
+++ b/27534-page-images/p0080.png
diff --git a/27534-page-images/p0081.png b/27534-page-images/p0081.png
new file mode 100644
index 0000000..7ac09c4
--- /dev/null
+++ b/27534-page-images/p0081.png
diff --git a/27534-page-images/p0082.png b/27534-page-images/p0082.png
new file mode 100644
index 0000000..94b8fc8
--- /dev/null
+++ b/27534-page-images/p0082.png
diff --git a/27534-page-images/p0083.png b/27534-page-images/p0083.png
new file mode 100644
index 0000000..e53ec07
--- /dev/null
+++ b/27534-page-images/p0083.png
diff --git a/27534-page-images/p0084.png b/27534-page-images/p0084.png
new file mode 100644
index 0000000..0653c3c
--- /dev/null
+++ b/27534-page-images/p0084.png
diff --git a/27534-page-images/p0085.png b/27534-page-images/p0085.png
new file mode 100644
index 0000000..3ba0707
--- /dev/null
+++ b/27534-page-images/p0085.png
diff --git a/27534-page-images/p0086.png b/27534-page-images/p0086.png
new file mode 100644
index 0000000..46260c6
--- /dev/null
+++ b/27534-page-images/p0086.png
diff --git a/27534-page-images/p0087.png b/27534-page-images/p0087.png
new file mode 100644
index 0000000..9b16204
--- /dev/null
+++ b/27534-page-images/p0087.png
diff --git a/27534-page-images/p0088.png b/27534-page-images/p0088.png
new file mode 100644
index 0000000..1a104ba
--- /dev/null
+++ b/27534-page-images/p0088.png
diff --git a/27534-page-images/p0089.png b/27534-page-images/p0089.png
new file mode 100644
index 0000000..9411b29
--- /dev/null
+++ b/27534-page-images/p0089.png
diff --git a/27534-page-images/p0090.png b/27534-page-images/p0090.png
new file mode 100644
index 0000000..7035fe2
--- /dev/null
+++ b/27534-page-images/p0090.png
diff --git a/27534-page-images/p0091.png b/27534-page-images/p0091.png
new file mode 100644
index 0000000..b290995
--- /dev/null
+++ b/27534-page-images/p0091.png
diff --git a/27534-page-images/p0092.png b/27534-page-images/p0092.png
new file mode 100644
index 0000000..7ac45a9
--- /dev/null
+++ b/27534-page-images/p0092.png
diff --git a/27534-page-images/p0093.png b/27534-page-images/p0093.png
new file mode 100644
index 0000000..a6bc4a2
--- /dev/null
+++ b/27534-page-images/p0093.png
diff --git a/27534-page-images/p0094.png b/27534-page-images/p0094.png
new file mode 100644
index 0000000..f3d3e76
--- /dev/null
+++ b/27534-page-images/p0094.png
diff --git a/27534-page-images/p0095.png b/27534-page-images/p0095.png
new file mode 100644
index 0000000..6bcfd52
--- /dev/null
+++ b/27534-page-images/p0095.png
diff --git a/27534-page-images/p0096.png b/27534-page-images/p0096.png
new file mode 100644
index 0000000..2ce48fc
--- /dev/null
+++ b/27534-page-images/p0096.png
diff --git a/27534-page-images/p0097.png b/27534-page-images/p0097.png
new file mode 100644
index 0000000..8b89f8d
--- /dev/null
+++ b/27534-page-images/p0097.png
diff --git a/27534-page-images/p0098.png b/27534-page-images/p0098.png
new file mode 100644
index 0000000..3399812
--- /dev/null
+++ b/27534-page-images/p0098.png
diff --git a/27534-page-images/p0099.png b/27534-page-images/p0099.png
new file mode 100644
index 0000000..e0114da
--- /dev/null
+++ b/27534-page-images/p0099.png
diff --git a/27534-page-images/p0100.png b/27534-page-images/p0100.png
new file mode 100644
index 0000000..301a5d2
--- /dev/null
+++ b/27534-page-images/p0100.png
diff --git a/27534-page-images/p0101.png b/27534-page-images/p0101.png
new file mode 100644
index 0000000..4c19681
--- /dev/null
+++ b/27534-page-images/p0101.png
diff --git a/27534-page-images/q0001.png b/27534-page-images/q0001.png
new file mode 100644
index 0000000..656edd7
--- /dev/null
+++ b/27534-page-images/q0001.png
diff --git a/27534.txt b/27534.txt
new file mode 100644
index 0000000..97f363a
--- /dev/null
+++ b/27534.txt
@@ -0,0 +1,2125 @@
+Project Gutenberg's Cobwebs from a Library Corner, by John Kendrick Bangs
+
+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: Cobwebs from a Library Corner
+
+Author: John Kendrick Bangs
+
+Release Date: December 14, 2008 [EBook #27534]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+These verses of Mr. Bangs's have appeared from time to time in the
+various Harper Periodicals, and elsewhere.
+
+
+[Illustration: OUT IN THE COLD]
+
+
+
+
+COBWEBS FROM A LIBRARY CORNER
+
+
+By
+
+
+John Kendrick Bangs
+
+
+
+NEW YORK AND LONDON
+
+HARPER & BROTHERS
+
+MDCCCXCIX
+
+
+
+Copyright, 1899, by HARPER & BROTHERS.
+
+All rights reserved.
+
+
+
+
+TO
+SISTER ANNE
+
+
+
+
+CONTENTS
+
+
+BOOKISH
+
+  A PESSIMISTIC VIEW
+  THE MASTER'S PEN--A CONFESSION
+  BOOKWORM BALLADS (A LITERARY FEAST)
+  IDEAS FOR SALE
+  THE AUTHOR'S BOOMERANG
+  TO AN EGOTISTICAL BIOGRAPHER
+  NO COPYRIGHT NEEDED
+  INGREDIENTS OF GREATNESS
+  A COMMON FAVORITE
+  THEIR PENS
+  AN UNSOLVED PROBLEM
+  THE BIBLIOPHILE'S THREAT
+  MY TREASURES
+  A POET'S FAD
+  THE POET UNDONE
+  A WANING MUSE
+  MODESTY
+  MY LORD THE BOOK
+  THE BIBLIOMISER
+  THE "COLLECTOR"
+  A READER
+  FATE!
+  A PLEASING THOUGHT
+  BOOKS _vs._ "BOOKS," BY A BIBLIOMANIAC
+  A CONFESSION
+  THE EDITION DE LOOKS
+
+
+WISE AND OTHERWISE
+
+  NAPOLINI'S ERROR
+  MY COLOR
+  CONTENTMENT IN NATURE
+  THE HEROIC GUNNER
+  THE PATHETIC TALE OF THE CADDY BOY
+  GARRULOUS WISDOM
+  THE PERJURY OF A REJECTED LOVER
+  MAID OF CULTURE
+  NOT PERFECT
+  A CITY DWELLER'S WISH
+  WHERE ARE THEY?
+  MEMORIES
+  A SAD STATE
+  AD ASTRA PER OTIUM.
+  CONSOLATION
+  SATISFACTION ON READING "NOT ONE DISSATISFIED," BY WALT WHITMAN
+  TO A WITHERED ROSE
+  THE WORST OF ENEMIES
+  JOKES OF THE NIGHT
+  AN AUTUMNAL ROMANCE
+  THE COUNTRY IN JULY
+  MAY 30, 1893
+  THE CURSE OF WEALTH
+  THE RHYME OF THE ANCIENT POPULIST
+  ONE OF THE NAMELESS GREAT
+  IN FEBRUARY DAYS
+  A CHANGE OF AMBITION
+  MESSAGE FROM MAHATMAS
+  THE GOLD-SEEKERS
+  ODE TO A POLITICIAN
+  SOME ARE AMATEURS
+
+
+
+
+BOOKISH
+
+
+
+
+_A PESSIMISTIC VIEW_
+
+
+  A LITTLE bit of Thackeray,
+    A little bit of Scott,
+  A modicum of Dickens just
+    To tangle up the plot,
+  A paraphrase of Marryat,
+    Another from Dumas--
+  You ask me for a novel, sir,
+    And I say, there you are.
+
+  The pen is greater than the sword,
+    Of that there is no doubt.
+  The pen for me whene'er I wish
+    An enemy to rout.
+  A pen, a pad, and say a pint
+    Of ink with which to scrawl,
+  To put a foe to flight is all
+    That's needed--truly all.
+
+  But when it comes to making up
+    A novel in these days
+  You do not need a pen at all
+    To win the writer's bays.
+  A pair of sharpened scissors and
+    A wealth of pure white page
+  Will do it if you have at hand
+    A pot of mucilage.
+
+  So give to me the scissors keen,
+    And give to me the glue,
+  And I will fix a novel up
+    That's sure to startle you.
+  The good ideas have all been worked,
+    But while we've gum and paste
+  There shall be books and books and books
+    To please the public taste.
+
+
+
+
+_THE MASTER'S PEN--A CONFESSION_
+
+
+  IN my collection famed of curios
+  I have, as every bookman knows,
+  A pen that Thackeray once used.
+        To be amused,
+  I thought I'd "take that pen in hand,"
+  And see what came of it--what grand
+  Inspired lines 'twould write,
+        One Sunday night.
+  I dipped it in the ink,
+  And tried to think,
+        "Just what shall I indite?"
+  And do you know, that pen went fairly mad;
+  A dreadful time with it I had.
+  It spluttered, spattered, scratched, and blotted so,
+  I had to give it up, you know.
+  It really wouldn't work for me,
+  And so I put it down; but last night, after tea,
+  I took it up again,
+  And equally in vain.
+        The hours sped;
+        I went to bed,
+  And in my dreams the pen came up to me and said:
+  "Here is the list of Asses who have tried
+  To take up pens the master laid aside;
+  Look thou!" I looked, and lo!--perhaps you've guessed--
+  My name, like Abou Ben's, led all the rest!
+
+
+
+
+_BOOKWORM BALLADS_
+
+A LITERARY FEAST
+
+
+  MY Bookworm gave a dinner to a number of his set.
+  I was not there--I say it to my very great regret.
+  For they dined well, I fancy, if the menu that I saw
+  Was followed as implicitly as one obeys the law.
+
+  "'Twill open," he observed to me, "with quatrains on the half.
+  They go down easy; then for soup"--it really made me laugh--
+  "The poems of old Johnny Gay"--his words were rather rough--
+  "They'll do quite well, for, after all, soup's thin and sloppy stuff.
+
+  "For fish, old Izaak Walton; and to serve as an _entree_,
+  I think some fixed-up morsel, say from James, or from Daudet;
+  The roast will be Charles Kingsley--there's a deal of beef in him.
+  For sherbet, T. B. Aldrich is just suited to my whim.
+
+  "For game I'll have Boccaccio--he's quite the proper one;
+  He certainly is gamey, and a trifle underdone;
+  And for the salad, Addison, so fresh and crisp is he,
+  With just a touch of Pope to give a tang to him, you see.
+
+  "And then for cheese, Max Nordau, for I think you'll find right there
+  Some things as strong and mushy as the best of Camembert;
+  And for dessert let Thackeray and O. Khayyam be brought,
+  The which completes a dinner of most wondrous richness fraught.
+
+  "For olives and for almonds we can take the jokes of _Punch_--
+  They're good enough for us, I think, to casually munch;
+  And through it all we'll quaff the wines that flow forever clear
+  From Avon's vineyards in the heart of Will of Warwickshire."
+
+
+
+
+_IDEAS FOR SALE_
+
+
+  I'M in literary culture, and I've opened up a shop,
+  Where I'd like ye, gents and ladies, if you're passing by to stop.
+  Come and see my rich assortment of fine literary seed
+  That I'm selling to the writers of full many a modern screed.
+
+  I've bacilli for ten volumes for a dollar, in a bag--
+  Not a single germ among 'em that's been ever known to drag.
+  Not a single germ among 'em, if you see they're planted right,
+  But will grow into a novel that they'll say is out of sight.
+
+  I have motifs by the thousand, motifs sad and motifs gay.
+  You can buy 'em by the dozen, or I'll serve 'em every day:
+  I will serve 'em in the morning, as the milkman serves his wares;
+  I will serve 'em by the postman, or I'll leave 'em on your stairs.
+
+  When you get down to your table with your head a vacuum,
+  You can say unto your helpmeet, "Has that quart of ideas come
+  That we ordered served here daily from that plot-man down the street?"
+  And you'll find that I've been early my engagement to complete.
+
+  Should you want a book of poems that will bring you into fame,
+  Let me send a sample packet that will guarantee the same,
+  Holding "Seeds of Thought from Byron, Herrick, Chaucer, Tennyson."
+  Plant 'em deep, and keep 'em watered, and you'll find the deed is done.
+
+  I've a hundred comic packets that would make a Twain of Job;
+  I have "Seeds of Tales Narcotic; Tales of Surgeons and the Probe."
+  I've a most superb assortment, on the very cheapest terms,
+  Done up carefully in tin-foil, of my A 1 "Trilby Germs."
+
+  So perchance if you're ambitious in a literary line,
+  Be as dull as e'er you can be, you will surely cut a shine,
+  If you'll only take advantage of this opportunity,
+  When you're passing by to stop in for a little chat with me.
+
+  You may ask me, in conclusion, why I do not seek myself
+  All the laurel and the glory of these seeds I sell for pelf.
+  I will tell you, though the confidence I can't deny is rash,
+  I'm a trifle long on laurels, and a little short of cash.
+
+
+
+
+_THE AUTHOR'S BOOMERANG_
+
+
+  HE frowns with reason; he has always said,
+    "The public has no knowledge of true art;
+  The book of worth these days would not be read;
+    'Tis trash not truth that goes upon the mart."
+
+  And then was published his beloved work--
+    Some twenty-six editions it has had--
+  And he his own conclusion cannot shirk:
+    With such success as this it must be bad!
+
+
+
+
+_TO AN EGOTISTICAL BIOGRAPHER_
+
+
+  I'VE read your story of your friend's fine life,
+    But really, gentle sir, I fail to see,
+  Why you have named it "Blank, and Jane his wife,"
+    When you had better called it simply "Me."
+
+
+
+
+_NO COPYRIGHT NEEDED_
+
+
+  I'VE penned a score of essays bright,
+    In Addison's best style;
+  I've taken many a lofty flight,
+    The Muses to beguile.
+
+  Of novels I have written few--
+    I think no more than ten;
+  With history I've had to do,
+    Like several other men.
+
+  And still, to my intense regret,
+    Through all my woe and weal,
+  I've never penned a volume yet,
+    A foreigner would steal.
+
+
+
+
+_INGREDIENTS OF GREATNESS_
+
+
+  THE style of man I'd like to be,
+    If I could have my way,
+  Would be a sort of pot-pourri
+    Of Poe and Thackeray;
+
+  Of Horace, Edison, and Lamb;
+    Of Keats and Washington,
+  Gerome and blest Omar Khayyam,
+    And R. L. Stevenson;
+
+  Of Kipling and the Bard of Thrums,
+    And Bonaparte the great--
+  If I were these, I'd snap my thumbs
+    Derisively at Fate.
+
+
+
+
+_A COMMON FAVORITE_
+
+
+  CHARLES LAMB is good, and so is Thackeray,
+  And so's Jane Austen in her pretty way;
+  Charles Dickens, too, has pleased me quite a lot,
+  As also have both Stevenson and Scott.
+  I like Dumas and Balzac, and I think
+  Lord Byron quite a dab at spreading ink;
+  But on the whole, at home, across the sea,
+  The author I like best is Mr. Me.
+
+  A "first" of Elia filled my soul with joy.
+  A Meredith de luxe held no alloy.
+  And when I found _Pendennis_ in the parts
+  A throb of gladness stirred my heart of hearts.
+  A richly pictured set of Avon's bard
+  Upon my liking bounded pretty hard;
+  But none brought out that cloying sense of glee
+  That came from that first book by Mr. Me.
+
+  And so I beg you join me in the toast
+  To him that I confess I love the most.
+  He does not always do his level best,
+  But no one lives who can survive that test.
+  His work is queer, and some folks call it bad,
+  And some aver 'tis but a passing fad;
+  But I don't care, the fact remains that he
+  Has won my admiration--dear old Me.
+
+
+
+
+_THEIR PENS_
+
+
+  THE poet pens his odes and sonnets spruce
+  With quills plucked from the ordinary goose,
+  While critics write their sharp incisive lines
+  With quills snatched from the fretful porcupines.
+
+
+
+
+_AN UNSOLVED PROBLEM_
+
+
+  IF Bacon wrote those grand inspiring lines
+    At which alternately man weeps and laughs,
+  Who was it penned those chirographic vines
+    We know these times as Shakespeare's autographs?
+
+
+
+
+_THE BIBLIOPHILE'S THREAT_
+
+
+  IF some one does not speedily indite
+    A volume that is worthy of my shelf,
+  I'll have to buy materials and write
+    A novel and some poetry myself.
+
+
+
+
+_MY TREASURES_
+
+
+  MY library o'erflows with treasures rare:
+    Of "Dickens' firsts," a full, unbroken set;
+  And in a little nooklet off the stair
+    The whole edition of my novelette.
+
+
+
+
+_A POET'S FAD_
+
+
+  HE writes bad verse on principle,
+    E'en though it does not sell.
+  He thinks the plan original--
+    So many folk write well.
+
+
+
+
+_THE POET UNDONE_
+
+
+  HE was a poet born, but unkind Fate
+    Once doomed him for his verses to be paid,
+  Whereon he left the poet-born's estate
+    And wrote like one who'd happened to be made.
+
+
+
+
+_A WANING MUSE_
+
+
+  "WHY art thou sad, Poeticus?" said I.
+    So blue was he I feared he would not speak.
+  "Alas! I've lost my grip," was his reply--
+    "I've writ but forty poems, sir, this week."
+
+
+
+
+_MODESTY_
+
+
+  "WHAT hundred books are best, think you?" I said,
+    Addressing one devoted to the pen.
+  He thought a moment, then he raised his head:
+    "I hardly know--I've written only ten."
+
+
+
+
+_MY LORD THE BOOK_
+
+
+  A BOOK is an aristocrat:
+    'Tis pampered--lives in state;
+  Stands on a shelf, with naught whereat
+    To worry--lovely fate!
+
+  Enjoys the best of company;
+    And often--ay, 'tis so--
+  Like much in aristocracy,
+    Its title makes it go.
+
+
+
+
+_THE BIBLIOMISER_
+
+
+  HE does not read at all, yet he doth hoard
+  Rich books. In exile on his shelves they're stored;
+  And many a volume, sweet and good and true,
+  Fails in the work that it was made to do.
+  Why, e'en the dust they've caught since he began
+  Would quite suffice to make a decent man!
+
+
+
+
+_THE "COLLECTOR"_
+
+
+  I GOT a tome to-day, and I was glad to strike it,
+  Because no other man can ever get one like it.
+  'Tis poor, and badly print; its meaning's Greek;
+  But what of that? 'Tis mine, and it's unique.
+    So Bah! to others,
+    Men and brothers--
+    Bah! and likewise Pooh!
+    I've got the best of you.
+    Go sicken, die, and eke repine.
+    That book you wanted--Gad! that's mine!
+
+
+
+
+_A READER_
+
+
+  DAUDET to him is e'er Dodett;
+    Dumas he calls Dumass;
+  But prithee do not you forget
+    He's not at all an ass;
+
+  Because the books that he doth buy,
+    That on his shelf do stand,
+  Hold not one page his eagle eye
+    Hath not completely scanned.
+
+  And while this man's orthoepy
+    May not be what it should,
+  He knows what books contain, and he
+    "Can quote 'em pretty good."
+
+
+
+
+_FATE!_
+
+
+  I FEEL that I am quite as smart
+  As Edward Bulwer Lytton, Bart.
+
+  I'm also every bit as bright
+  As Walter Scott, the Scottish knight;
+
+  And in my own peculiar way
+  I'm just as good as Thackeray.
+
+  But, woe is me that it should be,
+  They got here years ahead of me,
+
+  And all the tales I would unfold
+  By them already have been told.
+
+
+
+
+_A PLEASING THOUGHT_
+
+
+  THEY speak most truly who do say
+  We have no writing-folk to-day
+  Like those whose names, in days gone by,
+  Upon the scroll of fame stood high.
+  And when I think of Smollett's tales,
+  Of waspish Pope's ill-natured rails,
+  Of Fielding dull, of Sterne too free,
+  Of Swift's uncurbed indecency,
+  Of Dr. Johnson's bludgeon-wit,
+  I must confess I'm glad of it!
+
+
+
+
+_BOOKS vs. "BOOKS"_
+
+BY A BIBLIOMANIAC
+
+
+  A VOLUME'S just received on vellum print.
+  The book is worth the vellum--no more in't.
+  But, as I search my head for thoughts, I find
+  One fact embedded firmly in my mind.
+
+  That's this, in short: while it no doubt may be
+  Most pleasant for an author small to see
+  A fine edition of his work put out,
+  No man who's sane can ever really doubt
+
+  That products of his brain and pen can live
+  Alone for that which they may haply give!
+  And though on vellum stiff the work appears,
+  It cannot live throughout the after-years,
+
+  Unless it has within its leaves some hint
+  Of something further than the style of print
+  And paper--give me Omar on mere waste,
+  I'll choose it rather than some "bookish taste,"
+
+  Expended on a flimsy, whimsey tale,
+  Put out to catch a whimsey, flimsy sale.
+  I'd choose my Omar print on grocer's wraps
+  Before the vellum books of "bookish" chaps.
+
+
+
+
+_A CONFESSION_
+
+
+  MY epic verse, my pet production, which I deemed
+    Sufficient to advance me to the highest peak
+  Of difficult Parnassus, goal of which I've dreamed
+    For many a weary year, came back to me last week.
+  The Editor I cursed, that he should stand between
+    My dear ambition and my scarcely dearer self;
+  Whose unappreciation forced to blush unseen
+    My one dear book, to gather dust upon my shelf.
+  That night in sleep an Angel fair came to my side,
+    And in her hand she held a scroll; in lines of flame
+  The name of him I'd cursed was writ; and when I cried,
+    "What portent this?" the rare celestial dame
+                                                 Replied:
+  "Read here, O Ingrate base, the name of him thou'st cursed.
+  The very man of all men who should be the first
+  Thy love and lasting gratitude to know, since he
+  Still leaves the path Parnassian open unto thee--
+  A path which thou with halting rhyme, most ill composed,
+  Against thyself hast sought to keep forever closed.
+  _Read thou thy lines again!_"
+                                Ah! bitter was the cup.
+  I read, withdrew the curse--and tore the epic up.
+
+
+
+
+_THE EDITION DE LOOKS_
+
+
+  How very close to truth these bookish men
+  Can be when in their catalogues they pen
+
+  The words descriptive of the wares they hold
+  To tempt the book-man with his purse of gold!
+
+  For instance, they have Dryden--splendid set--
+  Which some poor wight would part with wealth to get.
+
+  'Tis richly bound, its edges gilded--but--
+  Hard fate--as Dryden well deserves--_uncut_!
+
+  For who these days would think to buy the screed
+  Of dull old dusty Dryden just to read?
+
+  In faith if his editions had been kept
+  Amongst the rarities he'd ne'er have crept!
+
+  And then those pompous, overwhelming tomes
+  You find so oft in overwhelming homes,
+
+  No substance on a Whatman surface placed,
+  In polished leather and in tooling cased,
+
+  The gilded edges dazzling to the eye
+  And flaunting all their charms so wantonly.
+
+  These book-men, when they catalogue their books,
+  Call them in truth _edition de luxe_.
+
+  That's all they have, most of 'em, just plain shape,
+  With less pure wine than any unripe grape.
+
+  But tomes that travel on their "looks" indeed
+  Are only good for those who do not read;
+
+  And, like most people clad in garments grand,
+  Seem rather heavy for the average hand.
+
+
+
+
+WISE AND OTHERWISE
+
+
+
+
+_NAPOLINI'S ERROR_
+
+
+  PIETRO NAPOLINI DI VENDETTA PASQUARELLE
+  Deserted balmy Italy, the land that loved him well,
+  And sailed for soft America, of wealth the very fount,
+  To earn sufficient dollars there to make himself a count.
+  Alas for poor Pietro! he arrived in winter-time,
+  And marvelled at the poet who observed in tripping rhyme
+  How this New World was genial, and a sunny sort of clime.
+
+  No chance had he for music that's developed by a crank,
+  No chance had he at sculpture, nor a penny in the bank.
+  The pea-nut trade was languid, and for him too full of risk;
+  He thought the work on railways for his blood was rather brisk.
+  The sole profession left him to assuage his stomach's woe,
+  It struck him in meandering the city to and fro,
+  Was surely that of shovelling away the rich man's snow.
+
+  And then P. Napolini di Vendetta Pasquarelle
+  Sought out a city thoroughfare, the swellest of the swell.
+  He stole a shovel, and he found a broom he thought would do,
+  Then rang the massive front-door bell of Stuyvesant Depew.
+  "I wanta shov' da snow," he said, when there at last appeared
+  Fitzjohn Augustus Higgins, who in Birmingham was reared,
+  A man by all in low estate much hated and much feared.
+
+  "Go wi," said Fitz, with gesture bold. "Yer cahn't do nothink ere,
+  Yer bloomin', hugly furriner!" he added, with a sneer.
+  "Hi thinks as 'ow you dagoes is the cuss o' this 'ere land,
+  With wuthy citizens like me 'most starved on every 'and.
+  Hi vows hif I'd me wi at all hi'd order hout a troop,
+  Hand send the bloomin' lot o' yer 'ead over 'eels in soup.
+  Git hout, yer nahsty grabber yer; hewacuate the stoop."
+
+  Then when the snow had melted off, Fitzjohn Augustus went
+  And humbly asked his master for two dollars that he'd spent
+  In paying Napolini di Vendetta Pasquarelle;
+  While Nap went back to Italy, the land that loved him well,
+  Convinced that when he sailed that time his country to forsake,
+  He must have got aboard the ship when he was half awake,
+  And got to London, not New York, by some most odd mistake.
+
+
+
+
+_MY COLOR_
+
+
+  MY best-loved color? Well, I think I like
+    A soft and tender dewy green--for grass.
+  Sometimes a pink my fancy too will strike--
+    In lobster _puree_ or a Sauterne glass.
+
+  Blue is a color, too, I greatly love.
+    It's sort of satisfying to my eyes.
+  'Tis their own color; and I'm quite fond of
+    This hue also for soft Italian skies.
+
+  For blushes, give me red, nor hesitate
+    To pile it on; I like it good and strong
+  Upon the cheeks of her I call my Fate,
+    The loveliest of all the lovely throng.
+
+  On golden-yellow oft my fancy dwells.
+    'Tis almost godlike, as it sparkles through
+  The effervescent fizz; and wondrous spells
+    It casts o'er me when coined in dollars, too.
+
+  Hence, friend, it is I cannot specify
+    What hues particular my joys enhance.
+  I like them all; their popularity
+    At special times depends on circumstance.
+
+
+
+
+_CONTENTMENT IN NATURE_
+
+
+  I WOULD not change my joys for those
+    Of Emperors and Kings.
+  What has my gentle friend the rose
+  Told them, if aught, do you suppose--
+    The rose that tells me things?
+
+  What secrets have they had with trees?
+    What romps with grassy spears?
+  What know they of the mysteries
+  Of butterflies and honey-bees,
+    Who whisper in my ears?
+
+  What says the sunbeam unto them?
+    What tales have brooklets told?
+  Is there within their diadem
+  A single rival to the gem
+    The dewy daisies hold?
+
+  What sympathy have they with birds
+    Whose songs are songs of mine?
+  Do they e'er hear, as though in words
+  'Twas lisped, the message of the herds
+    Of grazing, lowing kine?
+
+  Ah no! Give me no lofty throne,
+    But just what Nature yields.
+  Let me but wander on, alone
+  If need be, so that all my own
+    Are woods and dales and fields.
+
+
+
+
+_THE HEROIC GUNNER_
+
+    When the order was given to withdraw from battle for breakfast,
+    one of the gun-captains, a privileged character, begged
+    Commodore Dewey to let them keep on fighting until "we've wiped
+    'em out."--_War Anecdote in Daily Paper._
+
+
+  AT the battle of Manila,
+    In the un-Pacific sea,
+  Stood a gunner with his mad up
+    Just as far as it could be--
+  Stood a gunner brave and ready
+    For the hated enemy.
+
+  Near the Isles of Philopena
+    Raged the battle all the morn,
+  And the plucky Spanish sailors
+    By the shot and shell were torn;
+  And the flag that floated o'er them
+    To oblivion was borne.
+
+  Every cannon belched projectiles,
+    Every cannon breathed forth hell,
+  Every cannon mowed the foeman
+    From the deck into the swell,
+  When amid the din of battle
+    Rang the silvery breakfast-bell.
+
+  "Stop your shooting! Come to breakfast!"
+    Cried the gallant Commodore.
+  "After eating we will let them
+    Have a rousing old encore.
+  Stow your lanyards, O my Jackies;
+    Let the cannon cease to roar."
+
+  Then upspake the fighting gunner:
+    "Dewey, don't, I beg of you.
+  What's the use of drinking coffee
+    Till we've put this scrimmage through?
+  If there's any one who's hungry,
+    Won't this Spanish omelet do?
+
+  "Farragut would not have done it
+    When through Mobile Bay he sped.
+  Why then, Dewey, should we breakfast
+    Till we've plunked 'em full of lead?
+  Let our motto be as his was--
+    _Damn the fishballs! Go ahead!_"
+
+
+
+
+_THE PATHETIC TALE OF THE CADDY BOY_
+
+
+  "COME here," said I, "oh caddy boy, and tell me how it haps
+  You cling so fast unto these links; not like the other chaps,
+  Who like to dally on the streets and play the game of craps?
+
+  "Is it that you enjoy the work of carrying a bag
+  While others speed the festive ball o'er valley, hill, and crag?
+  And do your spirits never seem to falter or to flag?
+
+  "I've watched you many a day, my lad, and puzzled o'er the fact
+  That you are so attentive to the game; your every act
+  Doth indicate perfection--there's been nothing you have lacked.
+
+  "And I would know just why it is that you so perfect seem--
+  In all my golfing days you've been the very brightest gleam--
+  Or am I lying home in bed and are you just a dream?"
+
+  "Oh, sir," said he, "I caddy here because I love my pa;
+  I cling unto these gladsome links because I love my ma;
+  In short, I love my parents, sir, and these my reasons are:
+
+  "'Twas but a year ago, good sir, when first this ancient sport
+  Came in the portals of our home--home of the sweetest sort;
+  When golf came through the window, sir, why home went through the port.
+
+  "My father first he took it up, and many a weary night
+  My mother with us children waited up by candle-light,
+  In hopes that he'd return and free us from our lonely plight.
+
+  "Then mother she went after him--alas! that it should be--
+  And shortly learned the game herself--she plays it famously--
+  Which left us children orphans, I and all my brothers three.
+
+  "They play it here, they play it there, they play it everywhere;
+  No matter what the weather, be it wet or be it fair,
+  And for the cares of golf they've dropped their every other care.
+
+  "And so it is that we poor lads are forced to leave our home,
+  And join the ranks of caddy boys who o'er the fields do roam
+  In search of little golf-balls in the sunlight and the gloam;
+
+  "For some day we are hoping that our eyes again will see
+  Our most beloved parents on some putting-green or tee;
+  A sight to gladden all our hearts if it should ever be."
+
+  And lo--I looked upon that boy--his face was sweet and sad,
+  And to my heart there came a twinge, for in that little lad
+  I recognized my eldest son--_I_ was that wicked dad!
+
+  And now together we are out on links at home and far.
+  He and his three small brothers with their shamed, repentant pa,
+  A-looking here and looking there to find their dear mamma.
+
+
+
+
+_GARRULOUS WISDOM_
+
+
+  I KNOW a wondrous man--my neighbor he;
+    He's ripe in years, and great in understanding.
+  He's versed in art, and in philosophy
+    He shows a mind that's verily commanding.
+
+  He'll stand before a painting, and without
+    A single instant's thought, or hesitation,
+  He'll tell the painter's name, nor any doubt
+    Is there he gives the proper information.
+
+  The rocks, the hills and valleys, hold from him
+    No secret that is past a man's revealing.
+  He knows why some are stout and others slim;
+    He comprehends all kinds of human feeling.
+
+  The records of the stars he knows, and each
+    Romance that round about the heavens lingers.
+  At dinner-time he oft delights to preach
+    On which was made the first, or forks or fingers.
+
+  Indeed, all things he knows, or high or low--
+    The things that fly on wing, or go a-walking--
+  Except one thing he never seems to know,
+    And that's when he should stop his endless talking.
+
+
+
+
+_THE PERJURY OF A REJECTED LOVER_
+
+
+  WHEN I was twenty-one, I swore,
+    If I should ever wed,
+  The maiden that I should adore
+    Should have a classic head;
+  Should have a form quite Junoesque;
+    A manner full of grace;
+  A wealth of hirsute picturesque
+    Above a piquant face.
+
+  But I, alas! am perjured, for
+    I've wed a dumpy lass
+  I much despised in days of yore,
+    Of quite the plainest class,
+  Because each maiden of my dream,
+    Whose favor I did seek,
+  Was so opposed unto my scheme
+    I married Jane in pique.
+
+
+
+
+_MAID OF CULTURE_
+
+
+  MAID of culture, ere we part,
+  Since we've talked of letters, art,
+  Science, faith, and hypnotism,
+  And 'most every other ism,
+  When you wrote, a while ago,
+  =Zoe mou, sas agapo,=
+
+  Let me tell you this, my dear:
+  Though your lettering was clear,
+  Though the ancient sages Greek
+  Would be glad to hear you speak,
+  They would be replete with woe
+  At your =mou, sas agapo=.
+
+  For, dear maiden most astute,
+  You have placed the mark acute
+  O'er omega. Take your specs.
+  See? It should be circumflex.
+  Still I love you, even though
+  You have written =agapo=.
+
+
+
+
+_NOT PERFECT_
+
+
+  HER eyes are blue--a lovely hue
+    For eyes; her cheeks are pink,
+  And for the cheek, 'twixt me and you,
+    That color's right, I think.
+
+  Her fingers taper prettily,
+    Her teeth are white as pearls--
+  Her hands seem softer far to me
+    Than any other girl's.
+
+  Her figure's trim--it is petite--
+    I like them just that way,
+  And truly, maiden half so sweet
+    You'd not find every day.
+
+  And yet, alas! she's not my choice,
+    This creature of my rhyme--
+  Because her soft and rich-toned voice
+    Is going all the time.
+
+
+
+
+_A CITY DWELLER'S WISH_
+
+
+  I LOVE the leaf of the old oak-tree,
+    I love the gum of the spruce,
+  I love the bark of the hickory,
+    And I love the maple's juice.
+
+  On the walnut's grain I fondly dote,
+    On the cherry's fruit I'd dine,
+  And I love to lie in a narrow boat,
+    And scent the odor of pine.
+
+  Ah, me! how I wish some power grand
+    Would invent some single tree
+  With all these points well developed, and
+    Would send that tree to me!
+
+  I'd plant it deep in the jardiniere
+    That stands in this flat of mine;
+  I'd give it the sweetest, tenderest care,
+    And water its roots with wine.
+
+
+
+
+_WHERE ARE THEY?_
+
+
+  WHAT has become of the cast-off coats
+    That covered Will Shakespeare's back?
+  What has become of the old row-boats
+    Of Kidd and his pirate pack?
+
+  Where are the scarfs that Lord Byron wore?
+    Where are poor Shelley's cuffs?
+  What has become of that wondrous store
+    Of Queen Elizabeth's ruffs?
+
+  Where are the slippers of Ferdinand?
+    Where are Marc Antony's clothes?
+  Where are the gloves from Antoinette's hand?
+    Where Oliver Goldsmith's hose?
+
+  I do not search for the ships of Tyre--
+    The grave of Whittington's cat
+  Would sooner set my spirit on fire--
+    Or even Beau Brummel's hat.
+
+  And when I reflect that there are spots
+    In the world that I can't find,
+  Where lie these same identical lots,
+    And many of this same kind,
+
+  I'm tempted to give a store of gold
+    To him that will bring to me
+  A glass, Earth's mysteries to unfold,
+    And show me where these things be.
+
+
+
+
+_MEMORIES_
+
+
+  YON maiden once a jester did adore,
+    Who early died and in the church-yard sleeps.
+  Once in a while she reads his best jokes o'er
+    And sits her down and madly, sorely weeps.
+
+
+
+
+_A SAD STATE_
+
+
+  I KNOW a man in Real Estate,
+    Whose pride of self's sublime.
+  He'd like to be a poet great
+    But "can't afford the time."
+
+
+
+
+_AD ASTRA PER OTIUM_
+
+
+  AS I read over old John Dryden's verse,
+    The rhymes of men like William Blake, and Gay,
+  The stuff that helped fill Edmund Waller's purse,
+    And that which placed on Marvell's brow the bay,
+
+  It doth appear to me that in those times
+    The Muses quaffed not sparkling wine, but grog,
+  And that to grow immortal through one's rhymes
+    Was 'bout as hard as falling off a log.
+
+
+
+
+_CONSOLATION_
+
+
+  SHAKESPEARE was not accounted great
+  When good Queen Bess ruled England's state,
+  So why should I to-day repine
+  Because the laurel is not mine?
+
+  Perhaps in twenty-ninety-three
+  Folks will begin to talk of me,
+  And somewhere statues may be built
+  Of me, in bronze, perhaps in gilt,
+
+  And sages full of quips and quirks
+  Will wonder if I wrote my works.
+  So why should I repine to-day
+  Because my brow wears not the bay?
+
+
+
+
+_SATISFACTION_
+
+ON READING "NOT ONE DISSATISFIED," BY WALT WHITMAN
+
+
+  GOD spare the day when I am satisfied!
+  Enough is truly likened to a feast that leaves man satiate.
+  The sluggishness of fulness comes apace; the dulness of a mind that
+        knows all things.
+  The lack of every sweet desire; no new sensation for the soul!
+  To want no more?
+  What vile estate is that?
+  What holds the morrow for the soul that's satisfied?
+  What holds the future for the mind content?
+  Is aspiration worthless?
+  Is much-abused ambition then so vile?
+  What is the essence of the joy of living?
+  Must yesterday, to-morrow, and to-day all be the same,
+  With nothing to be hoped for?
+  Is not a soul athirst a joyous thing?
+  Where lies content to him whose eye doth rest on higher things?
+  What satiation can compare to hope?
+  Yet who among the satisfied hath need of hope?
+  What can he hope for if he's satisfied?
+  'Tis but conceit, and nothing more, to prate of satisfaction!
+  God spare the day when I am satisfied!
+  I do not want the earth,
+  Yet nothing less will leave me quite content;
+  And once 'tis mine,
+  I'm very sure you'll find me roaming off
+  After the universe!
+
+
+
+
+_TO A WITHERED ROSE_
+
+
+  THY span of life was all too short--
+    A week or two at best--
+  From budding-time, through blossoming,
+    To withering and rest.
+
+  Yet compensation hast thou--aye!--
+    For all thy little woes;
+  For was it not thy happy lot
+    To live and die a rose?
+
+
+
+
+_THE WORST OF ENEMIES_
+
+
+  I DO not fear an enemy
+  Who all his days hath hated me.
+
+  I do not bother o'er a foe
+  Whose name and face I do not know.
+
+  I mind me not the small attack
+  Of him who bites behind my back:
+
+  But Heaven help me to the end
+  'Gainst that one who was once my friend.
+
+
+
+
+_JOKES OF THE NIGHT_
+
+
+  BLESSED jokes of my dreams! Your praises I'd sing.
+  No mirth can compare to the mirth that you bring.
+  I've read London _Punch_ from beginning to end,
+  On all comic papers much money I spend,
+  But naught that is in them can ever seem bright
+  Beside the rich jokes that I dream of at night.
+
+  How I laugh at those jests of my brain when at rest,
+  The gladdest and merriest, sweetest and best!
+  And how, when I wake in the morning and try
+  To call them to mind, oh how bashful, how shy
+  They seem, how they scatter and hide out of sight--
+  Those jokes of my dreamings, those jests of the night!
+
+  Take the one that came to me to-day just at dawn:
+  The Cable-Car turns and remarks to the Prawn,
+  "The Crowbar is seasick; but then what of that,
+  As long as the Camel won't wear a silk hat?"
+  I laughed--why, I laughed till my wife had a fright
+  For fear I'd go wild from that joke of the night.
+
+  And they're all much like that one--elusive enough,
+  Yet full of facetious, hilarious stuff--
+  Stuff past comprehension, stuff no man dares tell;
+  For nocturnal jests, e'en told ever so well--
+  'Tis odd it should be so--are not often bright,
+  Except to the dreamer who dreams them at night.
+
+
+
+
+_AN AUTUMNAL ROMANCE_
+
+
+  A LEAF fell in love with the soft green lawn,
+    He deemed her the sweetest and best,
+  And then on a dreary November dawn
+    He withered and died on her breast.
+
+
+
+
+_THE COUNTRY IN JULY_
+
+
+  WHERE glistening in the softness of the night
+  The vagrant will-o'-wisps do greet the sight;
+  Where fragrance baffling permeates the breeze
+  That gently flouts the grasses and the trees;
+  Where every flying thing doth seem to be
+  Instinct with sweetly sensuous melody;
+  Where hills and dales assume their warmest phase,
+  With here and there a scarf of opal haze
+  To soften their luxuriant attire;
+  Where one can almost hear the elfin choir
+  Across the meadow-land, down in the wood,
+  In songs of gladness--there are all things good.
+  Ah! ye who seek the spot where joys abide,
+  Awake! Awake! Seek out the country-side,
+  And through the blue-gray July haze see life
+  All free from care, from sorrow, and from strife.
+
+
+
+
+_MAY 30, 1893_
+
+
+  IT seemed to be but chance, yet who shall say
+  That 'twas not part of Nature's own sweet way,
+
+  That on the field where once the cannon's breath
+  Lay many a hero cold and stark in death,
+
+  Some little children, in the after-years,
+  Had come to play among the grassy spears,
+
+  And, all unheeding, when their romp was done,
+  Had left a wreath of wild flowers over one
+
+  Who fought to save his country, and whose lot
+  It was to die unknown and rest forgot?
+
+
+
+
+_THE CURSE OF WEALTH_
+
+
+  "WHAT shall I put my dollars in?" he asked, in wild dismay.
+    "I've fifty thousand of 'em, and I'd like to keep 'em too.
+  I'd like to put them by to serve some future rainy day,
+    But in these times of queer finance what can a fellow do?
+
+  "A railway bond is picturesque, and the supply is great,
+    But strangely like a novel that upon occasion drags,
+  Of which the critics of the time in hackneyed phrases state,
+    'The work has certain value, but the int'rest often flags!'
+
+  "The same is true of railway shares, 'tis safer to invest
+    In ploughshares, so it seems to me, in this unhappy time.
+  Some think great wealth a blessing, but it cannot stand the test;
+    He's happier by far than I who's but a single dime.
+
+  "He does not lie awake at night and fret and fume, to think
+    Of bank officials on a spree with what he's toiled to get.
+  He is not driven by his woe quite to the verge of drink
+    By wondering if his balance in the bank remains there yet.
+
+  "He does not pick the paper up in terror every night
+    To see if V.B.G. is up, or P.D.Q. is down;
+  It does not fill his anxious soul with nerve-destroying fright
+    To hear the Wall Street rumors that are flying 'bout the town.
+
+  "Ah, better had I ta'en that cash that I have skimped to save,
+    And spent it on my living and my pleasures day by day!
+  I would not now be goaded nigh unto my waiting grave,
+    By wondering how the deuce to keep those dollars mine for aye.
+
+  "I'd not be bankrupt in my nerves and prematurely old,
+    These golden shackles must be burst; I must again be free.
+  What Ho without! My ducats--to the winds with all my gold,
+    That I may once again enjoy the rest of poverty."
+
+
+
+
+_THE RHYME OF THE ANCIENT POPULIST_
+
+
+  IT was an ancient populist,
+    His beard was long and gray,
+  And punctuated by his fist,
+    He had his little say:
+  "This is the age of gold," he said,
+  "'Tis gold for butter, gold for bread,
+  Gold for bonds and gold for fun;
+  Gold for all things 'neath the sun."
+        Then with a smile
+          He shook his head.
+        "Just wait awhile,"
+          He slyly said.
+  "When we get in and run the State
+  We'll tackle gold, we'll legislate.
+        We'll pass an act
+        And make a fact
+  By which these gold-bugs will be whacked
+        Till they're as cold
+        As is their gold.
+  We're going to make a statute law by which 'twill be decreed
+  That standards are abolished, for a standard favors greed.
+  This is the country of the free, and free this land shall be
+  As soon as we the 'people' have our opportunity,
+  And he who has to pay a bill
+  Can pay in whate'er suits his will.
+  The tailor? Let him take his coats
+        And pay his notes;
+        Or if perchance
+        He's long on pants,
+        Let trousers be
+        His _L. s. d._
+  The baker! Let his landlord take
+        His rent in cake,
+  Or anything the man can bake.
+  And if a plumber wants a crumb,
+  He may unto the baker come
+            And plumb.
+  A joker needing hats or cloaks
+  Can go and pay for them with jokes,
+  And so on: what a fellow's got
+  Shall pay for things that he has not.
+  If beggars' rags were cash, you'd see
+  No longer any beggary;
+  In short, there'd be no poverty."
+  "A splendid scheme," quoth I; "but stay!
+  What of the nation's credit, pray?"
+  "Ha-ha! ho-ho!" he loudly roared.
+  "We'll leave that problem to the Lord.
+  And if He fails to keep us straight
+  Once more we'll have to legislate,
+        And so create,
+        Confounding greed,
+  As much of credit as we need."
+
+
+
+
+_ONE OF THE NAMELESS GREAT_
+
+
+  I KNEW a man who died in days of yore,
+    To whom no monument is like to rise;
+  And yet there never lived a mortal more
+    Deserving of a shaft to pierce the skies.
+
+  His chiefest wish strong friendships was to make;
+    He cared but little for this poor world's pelf;
+  He shared his joys with every one who'd take,
+    And kept his sorrows strictly to himself.
+
+
+
+
+_IN FEBRUARY DAYS_
+
+
+  FAIR Nature, like the mother of a wayward child
+    Who needs must chide the offspring of her heart,
+  Disguiseth for a season all the sweet and mild
+    Maternal softness for an austere part.
+
+  And 'neath her frown the errant earth in winter seems
+    Prostrate to lie, and petulant of mood;
+  Restrained in icy fetters all the babbling streams,
+    Like naughty babes who're learning to be good.
+
+  Then, in this second month, most motherlike again,
+    The frown assumed gives now and then a place
+  To soft indulgent glances, lessening the pain,
+    And hints of spring and pardon light her face.
+
+
+
+
+_A CHANGE OF AMBITION_
+
+
+  HORATIUS at the bridge, and he
+  Who fought at old Thermopylae;
+
+  Great Samson and his potent bone
+  By which the Philistines were slone;
+
+  Small David with his wondrous aim
+  That did for him of giant frame;
+
+  J. Caesar in his Gallic scraps
+  That made him lord of other chaps;
+
+  Sweet William, called the Conqueror,
+  Who made the Briton sick of war;
+
+  King Hal the Fifth, who nobly fought
+  And thrashed the foe at Agincourt;
+
+  Old Bonaparte, and Washington,
+  And Frederick, and Wellington,
+
+  Decatur, Nelson, Fighting Joe,
+  And Farragut, and Grant, and, oh,
+
+  A thousand other heroes I
+  Have wished I were in days gone by--
+
+  Can take their laurels from my door,
+  For I don't want 'em any more.
+
+  The truth will out; it can't be hid;
+  The doughty deed that Dewey did,
+
+  In that far distant Spanish sea,
+  Is really good enough for me.
+
+  The grammar's bad, but, O my son,
+  I wish I'd did what Dewey done!
+
+
+
+
+_MESSAGE FROM MAHATMAS_
+
+    ONSET BAY, MASSACHUSETTS, _May 24, 18--._--Theosophists and
+    others at Onset Bay Camp Grounds have been greatly excited of
+    late by a message which has been received from the Mahatmas,
+    Koot Hoomi, and his partner, who are summering in the desert of
+    Gobi. The message is of considerable length, and contains much
+    that is purely personal.--_Daily Newspaper_.
+
+
+  SOUND the timbrel, beat the drum!
+  Word from the Mahatma's come.
+  Straight from Hoomi Koot & Co.
+  Comes the note to us below,
+  Full of joy and gossiping.
+  Hoomi Koot is summering
+  In the desert waste of Gobi,
+  In a cottage of adobe.
+  All the little Koots are well.
+  Tommy Koot has learned to spell.
+  Mrs. Koot is busy on
+  Papers on "The Great Anon,"
+  Which by special cable soon,
+  From her workshop in the moon,
+  Will be sent to us below
+  By grand Hoomi Koot & Co.
+
+  We are told that Maggie Koot
+  Looks well in her golfing suit;
+  And her brand-new Astral Bike
+  Is the best they've seen this cike--
+  Cike is slang for cycle, so
+  I have learned from Koot & Co.
+  Soon she's going to take a run
+  Out from Gobi to the sun,
+  After which she thinks to race
+  For the Championship of Space,
+  And a trophy given by
+  The Grand High Pasupati.
+
+  Baby Koot has learned to walk,
+  And likewise, 'tis said, to talk;
+  But, to Mrs. Koot's dismay,
+  Seems to have a funny way:
+  Full of questions, "Why and How,"
+  All about the sacred cow.
+  Questions of a flippant ilk,
+  Like "Is Buddha made of milk?"
+  Questions void of answers spite
+  Of his parents' second sight.
+  What to do with Baby Koot
+  Worries all the whole cahoot.
+
+  Finally the message ends
+  With best love to all our friends.
+  Give our enemies a twist.
+  Let each true theoso-fist
+  Strike a thunder-hitting blow
+  For the firm of Koot & Co.;
+  Strike till black is every eye
+  Doubting our theosophy.
+  And impress on every tribe
+  _Now's the season to subscribe._
+  Guard against the coming storm;
+  Keep our astral bodies warm.
+  Give us bonnets for the head;
+  Keep our spirit stomachs fed.
+  Let your glad remittance go
+  Out to Hoomi Koot & Co.,
+  Through their Agents on the earth,
+  Men and women full of worth;
+  And when next a message comes
+  From the Koots down to their chums,
+  Those who've paid their money down
+  Will receive a harp and crown.
+
+  Step up lively! now's the time
+  For your nickel and your dime,
+  To provide for winter suits
+  For the grand Mahatma Koots.
+  Furthermore, be not too brash,
+  Send it up in solid cash.
+  Astral money, it may be,
+  Circulates in theory;
+  But 'tis best to give us cold,
+  Bilious, drossy, filthy gold.
+
+  All our blessings to you go.
+  Yours, for health,
+                      H. Koots & Co.
+
+
+
+
+_THE GOLD-SEEKERS_
+
+
+          GOLD, gold, gold!
+  What care we for hunger and cold?
+  What care we for the moil and strife,
+  Or the thousands of foes to health and life,
+  When there's gold for the mighty, and gold for the meek,
+  And gold for whoever shall dare to seek?
+      Untold
+      Is the gold;
+  And it lies in the reach of the man that's bold:
+  In the hands of the man who dares to face
+  The death in the blast, that blows apace;
+  That withers the leaves on the forest tree;
+  That fetters with ice all the northern sea;
+  That chills all the green on the fair earth's breast,
+  And as certainly kills as the un-stayed pest.
+  It lies in the hands of the man who'd sell
+  His hold on his life for an ice-bound hell.
+  What care we for the fevered brain
+  That's filled with ravings and thoughts insane,
+      So long as we hold
+      In our hands the gold?--
+  The glistening, glittering, ghastly gold
+  That comes at the end of the hunger and cold;
+  That comes at the end of the awful thirst;
+  That comes through the pain and torture accurst
+  Of limbs that are racked and minds o'erthrown,
+  The gold lies there and is all our own,
+      Be we mighty or meek,
+      If we do but seek.
+  For the hunger is sweet and the cold is fair
+  To the man whose riches are past compare;
+  And the o'erthrown mind is as good as sane,
+  And a joy to the limbs is the racking pain,
+      If the gold is there.
+  And they say, if you fail, in your dying day
+  All the tears, all the troubles, are wiped away
+  By the fever-thought of your shattered mind
+  That a cruel world has at last grown kind;
+  That your hands o'errun with the clinking gold,
+  With nuggets of weight and of worth untold,
+      And your vacant eyes
+  Gloat o'er the riches of Paradise!
+
+
+
+
+_ODE TO A POLITICIAN_
+
+
+  ALL hail to thee, O son of AEolus!
+  All hail to thee, most high Borean lord!
+  The lineal descendant of the Winds art thou.
+  Child of the Cyclone,
+  Cousin to the Hurricane,
+  Tornado's twin,
+          All hail!
+  The zephyrs of the balmy south
+          Do greet thee;
+  The eastern winds, great Boston's pride,
+  In manner osculate caress thy massive cheek;
+          Freeze onto thee,
+  And at thy word throw off congealment
+  And take on a soft caloric mood;
+  And from afar,
+  From Afric's strand,
+  Siroccan greetings come to thee!
+  The monsoon and simoom,
+  In the soft empurpled Orient,
+  At mention of thy name
+  Doff all the hats of Heathendom!
+  And all combined in one vast aggregation,
+  Cry out hail, hail, thrice hail to thee,
+  Who after years, and centuries, and cycles e'en,
+  Hast made the winds incarnate!
+          To thee
+          The visible expression in the flesh,
+          Material and tangible,
+  Of all that goes to make the element
+  That rages, blusters, blasts, and blows!
+  And if the poet's mind speaks true,
+  If he can penetrate their purposes at all,
+  It is not far from their intent
+  To lift thee on their broad November wings
+          So high
+  That none but gods can ever hope
+  Again to gaze upon thy face!
+
+
+
+
+_SOME ARE AMATEURS_
+
+
+  SHAKESPEARE was partly wrong--the world's a stage,
+    This is admitted by the bard's detractors.
+  Had William seen some Hamlets of this age
+    He'd not have called _all_ men upon it actors.
+
+
+
+
+                             LITTLE BOOKS
+                          BY FAMOUS WRITERS
+
+
+    THE FIRST CHRISTMAS (From "Ben-Hur")
+                                                 _By Lew. Wallace_
+
+    THE STORY OF THE OTHER WISE MAN
+                                               _By Henry van Dyke_
+
+    TWO GENTLEMEN OF KENTUCKY
+                                             _By James Lane Allen_
+
+    EPISODES IN VAN BIBBER'S LIFE
+                                        _By Richard Harding Davis_
+
+    GOOD FOR THE SOUL
+                                              _By Margaret Deland_
+
+    EVELINA'S GARDEN
+                                              _By Mary E. Wilkins_
+
+    COBWEBS FROM A LIBRARY CORNER (Verses)
+                                          _By John Kendrick Bangs_
+
+    THE WOMAN'S EXCHANGE
+                                          _By Ruth McEnery Stuart_
+
+    THE CAPTURED DREAM
+                                                _By Octave Thanet_
+
+    STORIES OF PEACE AND WAR
+                                           _By Frederic Remington_
+
+
+             Uniform with this Volume--with Frontispiece
+                        _Fifty Cents a Volume_
+
+
+                    HARPER & BROTHERS, PUBLISHERS
+
+                         NEW YORK AND LONDON
+
+
+    [Pointing hand] _Any of the above works will be sent by mail,
+    postage prepaid, to any part of the United States, Canada, or
+    Mexico, on receipt of the price._
+
+
+
+
+    Transcriber's note: Words originally in Greek are set off by
+    equal signs like so: =agapo=.
+
+
+
+
+
+End of the Project Gutenberg EBook of Cobwebs from a Library Corner, by
+John Kendrick Bangs
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COBWEBS FROM A LIBRARY CORNER ***
+
+***** This file should be named 27534.txt or 27534.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/7/5/3/27534/
+
+Produced by Barbara Tozier, Bill Tozier 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/27534.zip b/27534.zip
new file mode 100644
index 0000000..b4dfef0
--- /dev/null
+++ b/27534.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..fad9ff6
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #27534 (https://www.gutenberg.org/ebooks/27534)