initial commit of ebook 29305HEADmain

1 files changed, 1932 insertions, 0 deletions

diff --git a/29305.txt b/29305.txt
new file mode 100644
index 0000000..a784926
--- /dev/null
+++ b/29305.txt
@@ -0,0 +1,1932 @@
+The Project Gutenberg EBook of Sielanka: An Idyll, by Henryk Sienkiewicz
+
+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: Sielanka: An Idyll
+
+Author: Henryk Sienkiewicz
+
+Translator: Vatslaf A. Hlasko
+            Thos. H. Bullick
+
+Release Date: July 4, 2009 [EBook #29305]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SIELANKA: AN IDYLL ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at https://www.pgdp.net
+
+
+
+
+
+SIELANKA
+
+_An Idyll_
+
+
+BY
+
+
+HENRYK SIENKIEWICZ
+
+
+TRANSLATED BY
+
+VATSLAF A. HLASKO and THOS. H. BULLICK
+
+
+R. F. FENNO & COMPANY : 9 AND 11 EAST
+SIXTEENTH STREET : : NEW YORK CITY
+1898
+
+
+
+
+Copyright, 1897
+
+BY
+
+R. F. FENNO & COMPANY
+
+
+
+
+SIELANKA.
+
+_An Idyll._
+
+
+In the woods, in the deep woods, was an open glade in which stood the
+house of the forester Stephan. The house was built of logs packed with
+moss, and the roof was thatched with straw; hard by the house stood
+two outbuildings; in front of it was a piece of fenced-in ground, and
+an old well with a long, crooked sweep; the water in the well was
+covered with a green vegetation at the edges.
+
+Opposite the windows grew sunflowers and wild hollyhocks, high,
+stately, and covered with blossoms as if with a swarm of gorgeous
+butterflies; between the sunflowers there peeped the red heads of the
+poppy; around the hollyhocks entwined sweet peas with pink blossoms
+and morning-glories; close to the ground grew nasturtiums, marigolds,
+primroses, and asters, pale because they were shaded from the sunlight
+by the leaves of the hollyhocks and sunflowers.
+
+The fenced ground on either side of the pathway leading to the house
+was planted with vegetables--carrots, beets, and cabbage; further off
+in a separate fenced-in lot there waved with each breath of wind the
+tender blue flower of the flax; still beyond could be seen the dark
+green of the potato patch; the rest of the clearing was checkered with
+the variegated shades of the different cereals that ran to the edge of
+the lake which touched the glade on one side.
+
+Near to the house a few trees were growing. Some were cherry trees,
+and one was a birch, with long, slender branches which swayed in the
+wind, and with every breeze its leaves touched the dilapidated
+moss-covered straw thatch of the roof; when the stronger gusts of wind
+bent its boughs to the wall, and pressed its twigs and the waves of
+leaves against the roof, it would seem as if the tree loved the house
+and embraced it.
+
+In this tree the sparrows made their home; the rustling of the leaves
+and twigs commingled with the chirp and joyous noise of the birds; in
+the eaves of the house the doves had built their nests, and the place
+was filled with their speech, cooing and calling to each other,
+entreating and discussing as is customary between doves, these noisy
+and talkative people.
+
+At times it happened that they were startled by some unknown cause;
+then around the house was heard a loud flapping, the air was filled
+with the whirl of wings and a multitude of white-feathered breasts;
+you could hear tumult, noise and excited cries--the whole flock flew
+out suddenly, circled round the house, now near, now far off.
+Sometimes they melted in the blue, sometimes their white feathers
+reflected the sunlight, again they hung over the house, undulating in
+the air, and alighting at last like a downfall of snowflakes on the
+gray straw of the roof.
+
+If this occurred in the rosy morning or in the splendor of the red
+setting sun, then in the glory of the air these doves were not white,
+but tinted pink, and settled on the roof and birch tree as flames or
+scattered rose leaves.
+
+At twilight, when the sun had hidden itself beyond the woods, this
+cooing under the roof and chirping in the birch tree became gradually
+quiet. The sparrows and the doves shook the dew from their wings and
+prepared to sleep; sometimes one of them gave voice once more, but
+more rarely, more softly, more drowsily, and then all was silent--the
+dusk was falling from the heavens upon the earth. The house, cherry
+trees, and birch were losing their form, mingling together, melting,
+and veiled in a mist which rose from the lake.
+
+Around the glade, as far as the eye could reach, there stretched the
+wall of dark pine trees and thick undergrowth. This wall was broken in
+one place by a wide dividing line, which reached to the edge of the
+lake. The lake was a very large one, the opposite side was nearly lost
+to view, and in the mist could be hardly discerned the red roof and
+steeple of a church, and the black line of the woods closing the
+horizon beyond the church.
+
+The pines were looking from the high sandy banks upon their reflection
+in the lake as if in a mirror, and it seemed as if there was another
+forest in the water; and when the trees were swaying on the earth they
+were also swaying in the water, and when they quivered on the earth
+they seemed to quiver in the water; as they stood in the still air
+motionless, then every needle of the pines was painted distinctly on
+the smooth, unruffled surface, and the straight trunks of the trees
+standing like rows of pillars reaching afar off into infinity. In the
+middle of the lake the water in the daytime reflected the sun, and in
+the morning and the evening the glories of its rising and its setting;
+at night the moon and stars; and it seemed to be as deep as the dome
+of the sky above us is high, beyond the sun, moon, and stars.
+
+In the house dwelt the forester, named Stephan, and his daughter,
+Kasya, a maiden of sixteen. Kasya was the light of the household, as
+bright and fresh as the morning. She was brought up in great innocence
+and in the fear of God. Her uncle, who was now dead, and who was a
+poor but devout man, the organist of the neighboring church, had
+taught her to read her prayer book, and her education was perfected by
+her communing with nature. The bees taught her to work, the doves
+taught her purity, the happy sparrows to speak joyfully to her father,
+the quiet water taught her peace, the serenity of the sky taught her
+contemplation, the matin-bell of the distant church called her to
+devotion, and the universal good in all nature, which reflected the
+love of God, sank deep into her soul.
+
+Therefore the father and Kasya led a peaceful and happy life,
+surrounded by the silence and solitude of the woods.
+
+One noon, before Ascension Day, Stephan came home to his dinner. He
+had visited a large tract of the forest, so he arrived weary, having
+returned through the thickets of the swamp. Kasya placed the dinner on
+the table, and after they had finished and she had fed the dog and
+washed the dishes, she said:
+
+"Papa."
+
+"What is it?"
+
+"I shall go into the woods."
+
+"Go, go," adding jestingly, "and let some wolf or wild beast devour
+you."
+
+"I shall go and gather herbs. To-morrow is Ascension Day and they will
+be needed in the church."
+
+"If so, you can go."
+
+She covered her head with a yellow kerchief embroidered with blue
+flowers, and looking for her basket she began singing:
+
+  "The falcon came flying, the falcon came grey."
+
+The old man began to grumble: "If you were as fond of working as you
+are of singing."
+
+Kasya, who was standing on her tiptoes to look on a shelf, turned her
+head to her father, laughed merrily, and showing her white teeth, sang
+again as if to tease him:
+
+  "He hoots in the woods and the cuckoo's his prey."
+
+"You would be glad yourself to be a cuckoo until a falcon came," said
+the old man. "Perhaps 'tis falcon who is at the turpentine works? but
+this is folly. You can't earn a piece of bread by singing."
+
+Kasya again sang:
+
+  "Hoot not thou, my falcon, unhappy thy quest,
+  In the depths of the lake thy cuckoo doth rest."
+
+Then she said:
+
+"Wilt thou decorate the room with the evergreens for to-morrow? I
+shall return in time to milk the cows, but they should be brought from
+the pasture."
+
+She found her basket, kissed her father, and went out. Old Stephan got
+his unfinished fishing-net, and seated himself on a bench outside the
+door. He gathered his twine, and half-closing one eye he tried to
+thread his netting needle; after several attempts he succeeded and
+began to work.
+
+From time to time he watched Kasya. She was walking on the left side
+of the lake; against the background of the sandy banks she stood out
+in relief as if in a picture. Her white waist and red striped skirt
+and yellow kerchief glistened in the sunlight like a variegated
+flower. Though it was spring the heat was unbearable. After she had
+gone about half a mile she turned aside and disappeared into the
+woods. The afternoon hours were hot in the sun, but in the shade of
+the trees it was quite cool. Kasya pressed forward, suddenly stopped,
+smiled, and blushed like a rose.
+
+In front of her in the pathway stood a youth about eighteen years of
+age.
+
+This youth was the turpentine worker, from the edge of the woods, who
+was now on his way to visit Stephan.
+
+"The Lord be praised!" said he.
+
+"Forever and ever," answered she, and in her confusion she covered her
+face with her apron, peeping shyly out of a corner of it and smiling
+at her companion.
+
+"Kasya," said he.
+
+"What is it, John?"
+
+"Is your father at home?"
+
+"He is."
+
+The turpentine worker, poor fellow, perhaps desired to speak of
+something else beside the father, but somehow he was frightened and
+unconsciously inquired for him; then he became silent and waited for
+Kasya to speak to him first. She stood confused, twisting the corners
+of her apron.
+
+At last she spoke.
+
+"John?"
+
+"What is it, Kasya?"
+
+"Does the turpentine works smoke to-day?" She also wished to speak of
+something else.
+
+"Why should it not? The turpentine works never stop. I left lame Frank
+there; but dost thou wish to go there?"
+
+"No, I go to gather plants."
+
+"I will go with thee, and on our return, if thou dost not chase me
+away, I will come to thy house."
+
+"Why should I chase thee away?"
+
+"If thou dost like me thou wilt not chase me away, and if thou dost
+not, then thou wilt. Tell me, Kasya, dost thou like me?"
+
+"Fate, my fate," and Kasya covered her face with her hands. "What can
+I say to thee? I like thee, John, very much I like thee," she
+whispered faintly.
+
+Then before he could reply she uncovered her blushing face and cried
+out, "Let us go and gather plants; let us hurry."
+
+And so went they, John and Kasya. The radiance of love surrounded
+them, but these simple children of nature dared not speak of it. They
+felt it, although they knew not what they felt; they were embarrassed
+but happy. Never before had the forest sung so wonderfully over their
+heads, never was the wind so sweet and caressing, never at any time
+had the noises of the forest, the rustling of the breeze in the trees,
+the voices of the birds, the echoes of the woods, seemed to merge into
+such an angelic choir, so sweet and grand, as at this moment, full of
+unconscious happiness.
+
+Oh, holy power of love! how good an angel of light thou art, how rosy
+an aureole in the dusk, how bright a rainbow on the cloud of human
+tears!
+
+Meanwhile, in the woods resounded echoes from pine to pine, the
+barking of the dog, Burek, who had escaped from the house and ran on
+the pathway after Kasya. He came panting heavily, and with great joy
+he jumped with his big paws on Kasya and John, and looked from one to
+the other with his wise and mild eyes, as if wishing to say:
+
+"I see that you love one another; this is good."
+
+He wagged his tail and ran quickly ahead of them, then circled round
+to them, then stopped, barked once more with joy, and rushed into the
+woods, looking back from time to time on the boy and girl.
+
+Kasya put her hand to her forehead, and looking upward upon the bright
+sun between the leaves she said:
+
+"Just think, the sun is two hours beyond noontime and we have not yet
+gathered any plants. Go thou, John, to the left side and I shall go
+the right, and let us begin. We should hasten, for the dear Lord's
+sake."
+
+They separated and went into the woods, but not far from one another
+and in a parallel direction, so that they could see each other. Among
+the ferns between the pine trees could be seen fluttering the
+vari-colored skirt and yellow kerchief of Kasya. The slender, supple
+maiden seemed to float amid the berry-laden bushes, mosses and ferns.
+You would say it was some fairy _wila_ or _rusalka_ of the woods;
+every moment she stooped and stood erect again, and so, further and
+further, passing the pine trees, she entered deeper into the forest as
+some spritely nymph.
+
+Sometimes the thick growth of young hemlocks and cedars would conceal
+her from view, then John stopped, and putting his hand to his mouth
+would shout, "Halloo! Halloo!"
+
+Kasya heard it; she stopped with a smile, and pretending that she did
+not see him, answered in a high, silvery voice:
+
+"John!"
+
+The echo answers:
+
+"John! John!"
+
+Meanwhile Burek had espied a squirrel up a tree, and, standing before
+it looking upward, barked. The squirrel sitting on a branch covered
+herself with her tail in a mocking manner, lifted her forepaws to her
+mouth and rubbed her nose, seemed to play with her forefingers, make
+grimaces, and laugh at the anger of Burek. Kasya, seeing it, laughed
+with a resounding, silvery tone, and so did John, and so the woods
+were filled with the sound of human voices, echoes, laughter and sunny
+joy.
+
+Sometimes there was a deep silence, and then the woods seemed to
+speak; the breeze struck the fronds of the ferns, which emitted a
+sharp sound; the trunks of the pines swayed and creaked, and there was
+silence again.
+
+Then could be heard the measured strokes of the woodpecker. It seemed
+as if some one kept knock--knocking at a door, and you could even
+expect that some mysterious voice would ask:
+
+"Who is there?"
+
+Again, the wood thrush was whistling with a sweet voice; the
+golden-crowned hammer plumed his feathers. In the thicket the
+pheasants clucked and the bright green humming birds flitted between
+the leaves; sometimes on the top of the pine tree a crow, hiding
+itself from the heat of the sun, lazily flapped its wings.
+
+On this afternoon the weather was most clear, the sky was cloudless,
+and above the green canopy of the leaves there spread out the blue
+dome of the heavens--immense, limitless, transparently gray-tinted on
+the sides and deep blue above. In the sky stood the great golden sun;
+the space was flooded with light; the air was bright and serene, and
+far-off objects stood out distinctly, their forms clearly defined.
+From the height of heaven the eye of the great Creator embraced the
+whole earth; in the fields the grain bowed to Him with a golden wave,
+rustled the heavy heads of the wheat, and the delicate tasseled oats
+trembled like a cluster of tiny bells. In the air, filled with
+brightness here and there, floated the spring thread of the spider's
+web, blue from the azure of the sky and golden from the sun, as if a
+veritable thread from the loom of the Mother of God.
+
+In the vales between the fields of the waving grain stood dark-green
+meadows; here and there were crystal springs, around whose edges the
+grass was greener still; the whole meadows were sprinkled with yellow
+buttercups and dandelions which struck the eye with a profusion of
+golden brightness. In the wet places there thrived cypress trees,
+which had an air of coldness and moisture.
+
+In the woods among the pine trees there were now both heat and
+silence. It seemed as if a dreamy stillness enveloped the whole world.
+Not a breath of wind stirred; the trees, grain, and grass were
+motionless. The leaves hung on the trees as if rocked to sleep; the
+birds had ceased their noises, and the moment of rest had come. But
+this rest seemed to come from an ineffable sweetness, and all nature
+seemed to meditate. Only the great expanse of heaven seemed to smile,
+and somewhere, high in the unknowable depths of its blue, the great
+and beneficent God was glad with the gladness of the fields, the
+woods, the meadows, and the waters.
+
+Kasya and John were still busy in the woods collecting herbs, laughing
+gleefully and speaking to each other joyfully. Man is as artless as a
+bird; he will sing when he can, for this is his nature. John now began
+to sing a simple and touching song.
+
+As Kasya and John sang in unison the last refrain of the song ended
+mournfully, and as if in accompaniment the echo repeated it in the
+dark depths of the woods; the pines gave resonance as the words ran
+between their trunks and died away in the far distance like a sigh,
+less distinct, light, ethereal; then silence.
+
+Later Kasya sang a more cheerful song, beginning with the words:
+
+  "I shall become a ring of gold now."
+
+This is a good song. A willful young girl quarrels with her lover and
+enumerates the means she intends to use to escape from him. But it is
+useless. When she says that she will be a golden ring and will roll
+away on the road, he says that he will quickly see and recover her.
+When she wants to be a golden fish in the water he sings to her of the
+silken net; when she wants to be a wild fowl on the lake he appears
+before her as a hunter. At last the poor maiden, seeing she is unable
+to hide herself from him on the earth, sings:
+
+  "I shall become a star in heaven,
+  Light to earth by will be given.
+  My love to thee I shall not render,
+  Nor my sweet will to thee surrender."
+
+But the undaunted youth answers:
+
+  "Then shall I pray to the saint's grace
+  That the star may fall from its heavenly place.
+  Thy love to me thou then wilt render,
+  And thy sweet will to me surrender."
+
+The maiden, seeing there is no refuge either in heaven or on earth for
+her, accepts the view of Providence and sings:
+
+  "I see, I see, fate's decree doth bind me;
+  Where'er I hide, thou sure wilt find me.
+  My love to thee I must now render,
+  And my sweet will to thee surrender."
+
+John, turning to Kasya, said:
+
+"Do you understand?"
+
+"What, John?"
+
+He began to sing:
+
+  "Thy love to me thou must now render,
+  And thy sweet will to me surrender."
+
+Kasya was troubled, and laughed loudly to cover her confusion; and
+wishing to speak, she said:
+
+"I have gathered a large lot of plants; it would be well to dip them
+in water, for in this heat they will wither."
+
+Verily the heat was great; the wind had entirely ceased. In the woods,
+though in the shade, the air vibrated with moist heat, the pines
+exuding a strong, resinous odor. The delicate, golden-tinted face of
+Kasya was touched with perspiration, and her blue eyes showed traces
+of weariness. She removed the kerchief from her head, and began to fan
+herself. John, taking the basket from her, said:
+
+"Here, Kasya, stand two aspen trees, and between them a spring. Come,
+let us drink."
+
+Both went. After a short interval they noticed that the ground of the
+forest began to slope here. Among the trees, instead of bushes, ferns
+and dry mosses, there was a green, damp turf, then one aspen tree,
+then another, and after them whole rows. They entered into this dark,
+humid retreat, where the rays of the sun, passing through the leaves,
+took on their color and reflected on the human face a pale green
+light. John and Kasya descended lower and lower into the shadows and
+dampness; a chilliness breathed upon them, refreshing after the heat
+of the woods; and in a moment, between the rows of the aspen trees,
+they espied in the black turf a deep stream of water winding its way
+under and through canes and bushy thickets, and interspersed with the
+large, round leaves of the water-lilies, which we call "_nenufars_,"
+and by the peasants are called "white flowers."
+
+Beautiful was this spot, quiet, secluded, shady, even somewhat sombre
+and solemn. The transparent stream of water wound its way between the
+trees. The _nenufars_, touched by the light movement of the water,
+swayed gently backward and forward, leaning toward each other as if
+kissing. Above their broad leaves, lying like shields on the surface
+of the water, swarmed indigo-colored insects with wide, translucent,
+sibilant wings, so delicate and fragile that they are justly called
+water-sprites. Black butterflies, with white-edged, mournful wings,
+rested on the sharp, slender tops of the tamarack. On the dark turf
+blossomed blue forget-me-nots. On the edge of the stream grew some
+alder trees, and under the bushes peeped out heads of the
+lily-of-the-valley, bluebells and honeysuckles. The white heads of the
+_biedrzenica_ hung over the waters; the silvery threads of the
+_strojka_ spread out upon the current of the stream and weaved
+themselves into thin and long strands; besides--seclusion--a wild
+spot, forgotten by men, peaceful, peopled only with the world of
+birds, flowers and insects.
+
+In such places generally dwell nymphs, _rusalki_, and other bad or
+good forest sprites. Kasya, who was in advance, stood first on the
+banks of the stream and looked upon the water in which was reflected
+her graceful form. She verily appeared as one of those beautiful
+forest spirits as they are seen sometimes by the woodsmen or lumber
+men who float on their rafts down the rivers through the woods. She
+had no covering upon her head, and the wind gently played with her
+locks and ruffled her ray-like hair. Sunburned she was, blond-haired,
+and her eyes, as blue as turquoise, were as laughing as her lips.
+Besides, she was a divinely tall, slender, and fairy-like maiden. No
+one could swear, if she was suddenly startled, that she would not jump
+into the water--would not dissolve into mist--into rainbow rays--would
+not turn quickly into a water-lily or _kalina_ tree, which, when
+robbed of its flowers, remonstrates with a voice so human, yet
+recalling the sigh of the forest:
+
+"Don't touch me."
+
+Kasya, bending over the water so that her tresses fell on her
+shoulders, turned toward John and said:
+
+"How shall we drink?"
+
+"As birds," answered John, pointing to some silver pheasants on the
+opposite side of the stream.
+
+John, who knew how to help himself better than the birds, plucked a
+large leaf from a tree, and, making a funnel out of it, filled it with
+water and gave it to Kasya.
+
+They both drank, then Kasya gathered some forget-me-nots, and John
+with his knife made a flute from the willow bark, on which, when he
+had finished, he began to play the air which the shepherds play in the
+eventide on the meadows. The soft notes floated away with ineffable
+tenderness in this secluded spot. Shortly he removed the flute and
+listened intently as if to catch an echo returning from the aspen
+trees, and it seemed that the clear stream, the dark aspen trees, and
+the birds hidden in the canes listened to these notes with him.
+
+All became silent, but shortly, as if in answer--as if a
+challenge--came the first faint note of the nightingale, followed by a
+stronger trill. The nightingale wanted to sing--it challenged the
+flute.
+
+Now he began to sing. All nature was listening to this divine singer.
+The lilies lifted their heads above the water; the forget-me-nots
+pressed closer together; the canes ceased to rustle; no bird dared to
+peep except an unwise and absent-minded cuckoo, who with her silent
+wing alighted near by on a dry bough, lifted her head, widely opened
+her beak, and foolishly called aloud:
+
+"Cuckoo! cuckoo!"
+
+Afterward it seemed as if she was ashamed of her outbreak, and she
+quietly subsided.
+
+Vainly Kasya, who stood on the edge of the stream with the
+forget-me-nots in her hand, turned to the side from whence came the
+voice of the cuckoo and queried:
+
+"Cuckoo, blue-gray cuckoo, how long shall I live?"
+
+The cuckoo answered not.
+
+"Cuckoo, shall I be rich?"
+
+The cuckoo was silent.
+
+Then John: "Cuckoo, gray cuckoo, how soon will I wed?"
+
+The cuckoo replied not.
+
+"She cares not to answer us," said John; "let us return to the
+forest."
+
+On returning they found the large stone by which they had placed the
+basket and bunches of herbs. Kasya, seating herself beside it, began
+to weave garlands, and John helped her. Burek lay near them, stretched
+his hairy forepaws, lolled out his tongue and breathed heavily from
+fatigue, looking carefully around to see if he could not spy some
+living thing to chase and enjoy his own noise. But everything in the
+woods was quiet. The sun was traveling toward the west, and through
+the leaves and the needles of the pines shot his rays, becoming more
+and more red, covering the ground of the woods in places with great
+golden circles. The air was dry; in the west were spreading great
+shafts of golden light, which flooded all like an ocean of molten gold
+and amber. The wondrous beauties of the peaceful, warm spring evening
+were glowing in the sky. In the woods the daily work was gradually
+ceasing. The noise of the woodpecker had stopped; black and bronzed
+ants returned in rows to their hills, which were red in the rays of
+the setting sun. Some carried in their mouths pine needles and some
+insects. Among the herbs here and there circled small forest bees,
+humming joyfully as they completed their last load of the sweet
+flower-dust. From the fissures in the bark of the trees came gloomy
+and blind millers; in the streams of the golden light circled swarms
+of midgets and gnats scarcely visible to the eye; mosquitoes began
+their mournful song. On the trees the birds were choosing their places
+for the night; a yellow bird was softly whistling; the crows flapped
+their wings, crowding all on one tree and quarreling about the best
+places. But these voices were more and more rare, and became fainter;
+gradually all ceased, and the silence was interrupted by the evening
+breeze playing among the trees. The poplar tree tried to lift her
+bluish-green leaves upward; the king-oak murmured softly; the leaves
+of the birch tree slightly moved--silence.
+
+Now the sky became more red; in the east the horizon became dark blue,
+and all the voices of the woods merged into a chorus, solemn, deep and
+immense. Thus the forest sings its evening song of praise, and says
+its prayers before it sleeps; tree speaks to tree of the glory of God,
+and you would say that it spoke with a human voice.
+
+Only very innocent souls understand this great and blessed speech.
+Only very innocent hearts hear and understand when the first chorus of
+the parent oaks begins its strain:
+
+"Rejoice, O sister pines, and be glad. The Lord hath given a warm and
+peaceful day, and now above the earth He makes the starry night. Great
+is the Lord, and mighty, powerful and good is He, so let there be
+glory to Him upon the heights, upon the waters, upon the lands, and
+upon the air."
+
+And the pines pondered a moment upon the words of the oaks, and then
+they raised their voices together, saying:
+
+"Now, O Lord, to thy great glory, we, as censers, offer to Thee the
+incense of our sweet-smelling balsam, strong, resinous and fragrant.
+'Our Father, who art in heaven, hallowed be Thy Name.'"
+
+Then the birches said:
+
+"Thy evening brightness illumines the heavens, O Lord! and in Thy
+splendors our small leaves golden are and burning. Now with our golden
+leaves we sing to Thee, O Lord, and our delicate twigs play as the
+strings of the harp, O good Father of ours!"
+
+Again the sorrowing cypress said:
+
+"Upon our sad foreheads, exhausted with the heat, softly falls the
+evening dew. Praise be to Thee, O Lord; brothers and sisters rejoice,
+because there falls the cooling dew."
+
+Amid this chorus of trees the aspen alone trembles and is afraid; for
+it gave the wood for the Cross of the Saviour of the world; at times
+it faintly groans:
+
+"O Lord, have mercy upon me. Have mercy upon me, O Lord."
+
+Again, sometimes, when the oaks and pines cease for a moment, there
+rises from under their feet a faint, modest voice, low as the murmur
+of insects, silent as silence itself, which says:
+
+"A small berry am I, O Lord, and hidden in the moss. But Thou wilt
+hear, discern and love me; though small, devout am I, and sing Thy
+glory."
+
+Thus every evening prays the forest, and these orchestral sounds rise
+at every sunset from earth to heaven--and float high, high, reaching
+where there is no creature, where there is nothing only the silvery
+dust and the milky way of the stars, and above the stars--God.
+
+At this moment the sun hides his radiant head in the far-distant seas;
+the farmer turns upward his plowshares and hastens to his cottage.
+From the pastures return the bellowing herds; the sheep raise clouds
+of the golden dust. The twilight falls; in the village creek the well
+sweeps; later the windows shine, and from the distance comes the
+barking of the dogs.
+
+The sun had not gone beyond the woods when Kasya had seated herself
+under the mossy stone to weave her garlands. Its rays were thrown upon
+her face, broken by the shadows of the leaves and twigs. The work did
+not proceed rapidly, for Kasya was tired from heat and running in the
+woods. Her sunburnt hands moved slowly at her work. The warm breeze
+kissed her temples and face, and the voices of the forest lulled her
+to sleep. Her large eyes became heavy and drowsy; her eyelashes began
+to close slowly; she leaned her head against the stone, opened her
+eyes once more as a child looking upon the divine beauty of the world;
+then the noise of the trees, the rows of the stumps, the ground full
+of pine needles, and the skies that could be seen between the branches
+all became indistinct, darkened, dissolved, disappeared--and she
+smiled and slept. Her head was hidden in a soft shade, but the
+covering of her breast shone all rosy and purple. Her soft breathing
+lifted her bosom gently; so wonderful and beautiful she looked in this
+quiet sleep in the evening rays that John looked upon her as if upon
+the image of a saint, glorious with gold, and colored as the rainbow.
+
+Kasya's hands were clinging yet to the unfinished garland of herbs.
+She slept with a sleep light and sweet, for she smiled through her
+dreams as a child who speaks with the angels. Perhaps she verily
+conversed with angels, for pure she was as a child, and had dedicated
+her whole day to the service of God by gathering and weaving the
+garlands for His temple.
+
+John was sitting by her side, but he did not sleep. His simple breast
+could not contain the feelings that arose there; he felt as if his
+soul had got wings and was preparing to fly away to the realms of
+heaven. He knew not what was happening to him, and he only raised his
+eyes to the skies and was motionless; you would say that love had
+transfigured him.
+
+Kasya slumbered on, and for a long time they both remained there.
+Meanwhile the dusk came. The remnants of the purple light fought with
+the darkness. The interior of the woods deepened--became dumb. From
+the canes of the lake near the glade with its cottage came the buzzing
+of a night beetle.
+
+Suddenly on the other side of the lake from the church rang out the
+Angelus bell. Its tones floated on the wings of the evening breeze
+over the face of the quiet waters, clear, resonant, and distinct. It
+called the faithful to prayer, and also proclaimed: "Rest! Enough of
+work and the heat of the day," spoke the bell. "Wrap yourself to sleep
+in the wing of God. Come, come ye weary to Him--in Him is joy! Here is
+peace! here gladness! here sleep! here sleep! here sleep!"
+
+John took off his hat at the sound of the bell, Kasya shook the sleep
+from her eyes, and said:
+
+"The bell rings."
+
+"For the Angel of the Lord."
+
+Both kneeled near by the mossy stone as if before an altar. Kasya
+began to pray with a low, soft voice:
+
+"The Angel of the Lord declared unto Mary,"
+
+"And she conceived by the Holy Ghost," answered John.
+
+"Behold the handmaiden of the Lord; may it be done to me according to
+Thy word."
+
+       *       *       *       *       *
+
+Thus kneeling, prayed these children of God. The silent summer
+lightning shone from the east to the west, and upon its light flew
+down from heaven a radiant host of winged angels, and hovered above
+their heads. Then they blended with the angels and were themselves as
+if angels, for upon earth there were no two souls more bright, more
+pure, more innocent.
+
+
+
+
+ORSO.
+
+
+The last days of autumn in Anaheim, a town situated in Southern
+California, are days of joy and celebration. The grape gathering is
+finished and the town is crowded with the vineyard hands. There is
+nothing more picturesque than the sight of these people, composed
+partly of a sprinkling of Mexicans, but mainly of Cahuilla Indians,
+who come from the wild mountains of San Bernardino to earn some money
+by gathering grapes. They scatter through the streets and market
+places, called lolas, where they sleep in tents or under the roof of
+the sky, which is always clear at this time of the year. This
+beautiful city, surrounded with its growths of eucalyptus, olive,
+castor, and pepper trees, is filled with the noisy confusion of a
+fair, which strangely contrasts with the deep and solemn silence of
+the plains, covered with cacti, just beyond the vineyards. In the
+evening, when the sun hides his radiant head in the depths of the
+ocean, and upon the rosy sky are seen in its light the equally
+rosy-tinted wings of the wild geese, ducks, pelicans and cranes,
+descending by the thousands from the mountains to the ocean, then in
+the town the lights are lit and the evening amusements begin. The
+negro minstrels play on bones, and by the campfires can be heard the
+picking of the banjo; the Mexicans dance on an out-spread poncha their
+favorite bolero; Indians join in the dance, holding in their teeth
+long white sticks of kiotte, or beating time with their hands, and
+exclaiming, "E viva;" the fires, fed with redwood, crackle as they
+blaze, sending up clouds of bright sparks, and by its reflection can
+be seen the dancing figures, and around them the local settlers with
+their comely wives and sisters watching the scene.
+
+The day on which the juice from the last bunch of grapes is trampled
+out by the feet of the Indians is generally celebrated by the advent
+of Hirsch's Circus, from Los Angeles. The proprietor of the circus is
+a German, and besides owns a menagerie composed of monkeys, jaguars,
+pumas, African lions, one elephant, and several parrots, childish with
+age--"_The greatest attraction of the world._" The Cahuilla will give
+his last peso, if he has not spent it on drink, to see not only wild
+animals--for these abound in the San Bernardino Mountains--but to see
+the circus girls, athletes, clowns, and all its wonders, which seem to
+him as "a great medicine"--that is, magical feats, impossible of
+accomplishment except by the aid of supernatural powers.
+
+Mr. Hirsch, the proprietor of the circus, would be very angry with any
+one who would dare to say that his circus only attracted Mexicans,
+Indians, and Chinese. Certainly not; the arrival of the circus brings
+hither not only the people of the town and vicinity, but even those of
+the neighboring towns of Westminster, Orange, and Los Nietos. Orange
+Street is crowded with buggies and wagons of divers shapes, so that it
+is difficult to get through. The whole world of settlers come as one
+man. Young, bright girls, with their hair prettily banged over their
+eyes, sitting on the front seats, drive some of these vehicles, and
+gracefully upset passing pedestrians, chatter and show their white
+teeth; the Spanish senoritas from Los Nietos cover you with their
+warm, ardent glances from under their lace mantillas; the married
+women from the country, dressed in their latest and best fashions,
+lean with pride on the arms of the sunburned farmers, who are dressed
+in old hats, jean pants, and flannel shirts, fastened with hook and
+eye, and without neckties.
+
+All these people meet and greet each other, gossip, and the women
+inspect with critical eye the dresses of their neighbors, to see if
+they are "very fashionable."
+
+Among the buggies are some covered with flowers, which look like huge
+bouquets; the young men, mounted on mustangs, bend from their high
+Mexican saddles and peer under the hats of the young girls; the
+half-wild horses, frightened by the noise and confusion, look here and
+there with their bloodshot eyes, curvet, rear, and try to unseat their
+riders, but the cool riders seem to pay no attention to them.
+
+They all speak of "the greatest attraction," which was about to excel
+everything that had been seen before. Truly the flaming posters
+announced genuine wonders. The proprietor, Hirsch, that renowned
+"artist of the whip," will in the arena give a contest with a fierce,
+untamed African lion. The lion, according to the programme, springs
+upon the proprietor, whose only defense is his whip. This simple
+weapon in his hands (according to the programme) will change itself
+into a fiery sword and shield. The end of this whip will sting as a
+rattlesnake, flash as lightning, shoot as a thunderbolt, and keep at a
+proper distance the enraged monster, who vainly roars and tries to
+jump on the artist. This is not the end yet: sixteen-year-old Orso, an
+"American Hercules," born of a white father and Indian mother, will
+carry around six people, three on each shoulder; besides this, the
+management offers one hundred dollars to any man, regardless of color,
+who can throw Orso in a wrestling match. A rumor arose in Anaheim that
+from the mountains of San Bernardino comes for this purpose the
+"Grizzly Killer," a hunter who was celebrated for his bravery and
+strength, and who, since California was settled, was the first man who
+attacked these great bears single-handed and armed only with a knife.
+It is the probable victory of the "Grizzly Killer" over the
+sixteen-year-old athlete of the circus that highly excites the minds
+of the males of Anaheim, because if Orso, who until now, from the
+Atlantic to the Pacific, had overthrown the strongest Americans, will
+be defeated, great glory will cover all California. The feminine minds
+are not less excited by the following number of the programme: Orso
+will carry, on a pole thirty feet high, a small fairy, the "Wonder of
+the World," of which the poster says that she is the most beautiful
+girl that ever lived on this earth since the beginning of the
+"Christian Era." Though she is only thirteen years of age, the
+management also offers one hundred dollars to every maiden, "without
+regard to color of skin," who will dare to compete and wrest the palm
+of beauty from this "Aerial Angel." The maidens of Anaheim, both great
+and small, make grimaces on reading this, and say that it would not be
+ladylike to enter such a contest. Nevertheless they gladly surrender
+the comfort of their rocking chairs rather than miss the show and the
+chance of seeing their childish rival, in whose beauty, in comparison
+with the sisters Bimpa, for instance, none of them believed. The two
+sisters Bimpa, the elder Refugio, and the younger Mercedes, sitting
+gracefully in a handsome buggy, are now reading the posters; their
+faces show no trace of emotion, though they feel that the eyes of
+Anaheim are on them, as if supplicating them to save the honor of the
+whole county, and with a patriotic pride, founded upon the conviction
+that there is none more beautiful than these two California flowers in
+all the mountains and canyons of the whole world. Oh, beautiful indeed
+are the sisters Refugio and Mercedes! Not in vain does the pure
+Castilian blood flow in their veins, to which their mother constantly
+refers, showing her disdain for all colored races, as well as for the
+Americans.
+
+The figures of the sisters are slender, subtle, and full of mysterious
+grace, quiet, and so luxurious that they greatly impress all young men
+who come near them. From Donnas Refugio and Mercedes exhales a charm
+as the fragrance from the magnolia and the lily. Their faces are
+delicate, complexions transparent with a slight rosy tint, as if
+illumed with the dawn; the eyes dark and dreamy, sweet, innocent, and
+tender in their glances. Wrapped in muslin rebosos, they sit in their
+buggy adorned with flowers, pure and innocent, unconscious of their
+own beauty. Anaheim looked upon them, devoured them with its eyes, was
+proud of them, and loved them. Who then is this "Jenny," that can win
+victory over these? "Truly," the _Saturday Review_ wrote, "when little
+Jenny had climbed to the top of the mast, resting on the powerful
+shoulders of Orso, and from this eminence, suspended above the earth,
+in danger of death, she outstretched her arms and poised like a
+butterfly, the circus became silent and all eyes and hearts followed
+with trembling the movements of this wonderful child. That he who saw
+her on the mast or on a horse," concluded the _Saturday Review_, "will
+never forget her, because the greatest painter in the world, even Mr.
+Harvey, of San Francisco, who decorated the Palace Hotel, could paint
+nothing equal to it."
+
+The youths of Anaheim who were enamored by the Misses Bimpa were
+skeptical of this, and affirmed that it was a "humbug," but this
+question will be settled in the evening. Meanwhile, the commotion
+around the circus is increasing each moment. From among the long, low
+wooden buildings surrounding the canvas circus there comes the roar of
+the lions and elephant; the parrots, fastened to rings hanging to the
+huts, fill the air with their cries and whistles; the monkeys swing
+suspended by their tails or mock the public, who are kept at a
+distance by a rope fence. At last, from the main inclosure the
+procession emerges for the purpose of whetting and astonishing the
+curiosity of the public to a greater extent. The procession is headed
+by a gaudy band-wagon, drawn by six prancing horses with fine harness,
+and feathers on their heads. The riders on the saddles are in the
+costume of French postilions. On the other wagons come cages of lions,
+and in every cage is seated a lady with an olive branch in her hand.
+Then follows an elephant, covered with a carpet, and a tower on its
+back, which contains several men arrayed as East Indian hunters. The
+band is playing, the drums are beating, the lions are roaring, the
+whips are cracking; in a word, this cavalcade moves forward with great
+noise and uproar. But this is not all: behind the elephant there
+follows a machine on wheels, with a locomotive pipe, somewhat
+resembling an organ, which, blown by steam, emits the most discordant
+yells and whistles intended for the national "Yankee Doodle." The
+Americans cry "Hurrah!" the Germans, "Hoch!" the Mexicans, "E viva!"
+and the Cahuillas howl for joy.
+
+The crowds follow the procession, the place around the circus becomes
+deserted, the parrots cease their chatter, and the monkeys their
+gymnastics. But "the greatest attractions" do not take part in the
+procession. The "incomparable artist of the whip," the manager, the
+"unconquerable Orso," and the "Aerial Angel, Jenny," are all absent.
+All this is preserved for the evening so as to attract the crowds.
+
+The manager is somewhere in one of the wooden buildings, or looks into
+the ticket seller's van, where he pretends to be angry. Orso and Jenny
+are in the ring practicing some of their feats. Under its canvas roof
+reigns dust and silence. In the distance, where the seats are
+arranged, it is totally dark; the greatest part of the light falls
+through the roof on the ring, with its sand and sawdust covering. With
+the help of the gray light which filters through the canvas can be
+seen a horse standing near the parapet. The big horse feels very
+lonely, whisks the flies with his tail, and often sways his head.
+Gradually the eye, becoming accustomed to the dim light, discerns
+other objects--for instance: the mast upon which Orso carries Jenny,
+the hoops pasted with paper for her to jump through. All these lie on
+the ground without order, and the half-lighted arena and nearly dark
+benches give an impression of a deserted building with battened
+windows. The terrace of seats, only here and there broken with a stray
+glimmer of light, look like ruins. The horse, standing with drooping
+head, does not enliven the picture.
+
+Where are Orso and Jenny? One of the rays of light that stream through
+an aperture of the canvas, in which floats the golden dust, falls on a
+row of distant seats. This body of light, undulating with the swaying
+canvas, at last falls upon a group composed of Orso and Jenny.
+
+Orso sits on top of the bench, and near to him is Jenny. Her beautiful
+childish face leans against the arm of the athlete and her hand rests
+on his neck. The eyes of the girl are lifted upward, as if listening
+intently to the words of her companion, who bends over her, moving his
+head at times, apparently explaining something.
+
+Leaning as they are against each other, you might take them for a pair
+of lovers, but for the fact that the girl's uplifted eyes express
+strong attention and intense thought, rather than any romantic
+feeling, and that her legs, which are covered with pink fleshings, and
+her feet in slippers, sway to and fro with a childish abandon. Her
+figure has just begun to blossom into maidenhood. In everything Jenny
+is still a child, but so charming and beautiful that, without
+reflecting upon the ability of Mr. Harvey, who decorated the Palace
+Hotel, of San Francisco, it would be difficult even for him to imagine
+anything to equal her. Her delicate face is simply angelic; her large,
+sad blue eyes have a deep, sweet and confiding expression; her dark
+eyebrows are penciled with unequaled purity on her forehead, white and
+reposeful as if in deep thought, and the bright, silky hair, somewhat
+tossed, throws a shadow on it, of which, not only Master Harvey, but a
+certain other painter, named Rembrandt, would not have been ashamed.
+The girl at once reminds you of Cinderella and Gretchen, and the
+leaning posture which she now maintains suggests timidity and the need
+of protection.
+
+Her posture, which strongly reminds you of those of Greuz, contrasts
+strangely with her circus attire, composed of a short, white muslin
+skirt, embroidered with small silver stars, and pink tights. Sitting
+in a golden beam of light with the dark, deep background, she looks
+like some sunny and transparent vision, and her slender form contrasts
+with the square and sturdy figure of the youth.
+
+Orso, who is dressed in pink tights, appears from afar as if he were
+naked, and the same ray of light distinctly reveals his immense
+shoulders, rounded chest, small waist, and legs too short in
+proportion to the trunk.
+
+His powerful form seems as if it were hewn out with an ax. He has all
+the features of a circus athlete, but so magnified that they make him
+noticeable; besides, his face is not handsome. Sometimes, when he
+raises his head, you can see his face, the lines of which are regular,
+perhaps too regular, and somewhat rigid, as if carved from marble. The
+low forehead, with the hair falling on it, like the mane of a horse,
+straight and black, inherited from his squaw mother, gives to his face
+a gloomy and threatening expression. He has a similarity to both the
+bull and the bear, and he personifies a terrible and somewhat evil
+force. He is not of a good disposition.
+
+When Jenny passes by the horses, those gentle creatures turn their
+heads and look at her with intelligent eyes, and neigh and whinny, as
+if wishing to say: "How do you do, darling?" while at the sight of
+Orso they shudder with fear. He is a reticent and gloomy youth. Mr.
+Hirsch's negroes, who are his hostlers, clowns, minstrels, and
+rope-walkers, do not like Orso and tease him as much as they dare, and
+because he is half-Indian they think nothing of him, and plague and
+mock him. Truly, the manager, who offers the hundred dollars to any
+one who can defeat him, does not risk much; he dislikes and fears him,
+as the tamer of the wild animals fears a lion, and whips him on the
+slightest provocation.
+
+Mr. Hirsch feels that, if he does not keep the youth in subjection by
+constantly beating him, he will be beaten himself, and he follows the
+principle of the Creole woman, who considered beating a punishment,
+and no beating a reward.
+
+Such was Orso. Recently he began to be less sullen, because little
+Jenny had a good influence over him. It happened about a year ago that
+when Orso, who was then the attendant of the wild animals, was
+cleaning the cage of the puma, the beast put its paws through the bars
+of the cage and wounded his head severely. Then he entered the cage,
+and after a terrible fight between them, he alone remained alive. But
+he was so badly hurt that he fainted from loss of blood. He was ill a
+long time, which was greatly aggravated by a severe whipping which the
+manager gave him for breaking the spine of the puma.
+
+When he was ill Jenny took great care of him, and dressed his wounds,
+and when she had leisure, read the Bible to him. That is a "good book"
+which speaks of love, of forgiveness, of mercy--in a word, of things
+that are never mentioned in Mr. Hirsch's circus. Orso, listening to
+this book, pondered long in his Indian head and at last came to the
+conclusion that if it would be as good in the circus as in this book,
+perhaps he would not be so bad. He thought also that then he would not
+be beaten so often, and some one would be found who would love him.
+But who? Not negroes and not Mr. Hirsch; little Jenny, whose voice
+sounded as sweetly in his ears as the voice of the mavis, might be the
+one.
+
+One evening, under the influence of this thought, he began to weep and
+kiss the small hands of Jenny, and from this time on he loved her very
+much. During the performance in the evening, when Jenny was riding a
+horse, he was always in the ring and carefully watching over her to
+prevent any accident. When he held the paper hoops for her to jump
+through he smiled on her; when to the sound of the music be balanced
+her on the top of the high mast, and the audience was hushed with
+fright, he felt uneasy himself. He knew very well if she should fall
+that no one from the "good book" would be left in the circus; he never
+removed his eyes from her, and the evident caution and anxiety
+expressed in his movements added to the terror of the people. Then,
+when recalled into the ring by the storm of applause, they would run
+in together, he would push her forward, as if deserving of all the
+praise, and murmur from joy. This reticent youth spoke only to Jenny,
+and to her alone he opened his mind. He hated the circus and Mr.
+Hirsch, who was entirely different from the people in the "good book."
+Something always attracted him to the edge of the horizon, to the
+woods and plains. When the circus troupe in their constant wanderings
+chanced to pass through wild, lonely spots, he heard voices awakening
+the instincts of a captive wolf, who sees the woods and plains for the
+first time. This propensity he inherited not only from his mother, but
+also from his father, who had been a frontiersman. He shared all his
+hopes with Jenny, and often narrated to her how fully and untrammeled
+live the people of the plains. Most of this he guessed or gleaned from
+the hunters of the prairies, who came to the circus with wild animals
+which they had captured for the menagerie, or to try their prowess for
+the hundred-dollar prize.
+
+Little Jenny listened to these Indian visions, opening widely her blue
+eyes and falling into deep reveries. For Orso never spoke of going
+alone to the desert; she was always with him, and it was very good for
+them there. Every day they saw something new; they possessed all they
+needed, and it seemed right to make all their plans carefully.
+
+So now they sit in this beam of light, talking to each other, instead
+of practicing and attempting new feats. The horse stands in the ring
+and feels lonely. Jenny leans on Orso's arm, thoughtfully
+contemplating and looking with wistful, wondering eyes into the dim
+space, swinging her feet like a child and musing--how it will be on
+the plains, and asking questions from Orso.
+
+"How do they live there?" says she, raising her eyes to the face of
+her friend.
+
+"There is plenty of oaks. They take an ax and build a house."
+
+"Well," says Jenny, "but until the house is built?"
+
+"It is always warm there. The 'Grizzly Killer' says it is very warm."
+
+Jenny begins to swing her feet more lively, as if the warmth there has
+settled the question in her mind; but shortly she remembers that she
+has in the circus a dog and a cat, and that she would like to take
+them with her. She calls her dog Mister Dog and her cat Mister Cat.
+
+"And will Mr. Dog and Mr. Cat go with us?"
+
+"They will," answers Orso, looking pleased.
+
+"Will we take with us the 'good book'?"
+
+"We will," says Orso, still more pleased.
+
+"Well," says the girl in her innocence, "Mr. Cat will catch birds for
+us; Mr. Dog will drive away bad people with his bark; you will be my
+husband and I will be your wife, and they will be our children."
+
+Orso feels so happy that he cannot speak, and Jenny continues:
+
+"There, there will be no Mr. Hirsch, no circus, we will not work, and
+basta! But no!" she adds a moment later, "the 'good book' says that we
+should work, and I sometimes will jump through one--through the two
+hoops, the three, the four hoops."
+
+Jenny evidently does not imagine work under any other form than
+jumping through hoops.
+
+Shortly she says again:
+
+"Orso, will I indeed be always with you?"
+
+"Yes, Jen, for I love you very much."
+
+His face brightens as he says so, and becomes almost beautiful.
+
+And yet he does not know himself how dear to him has become this small
+bright head.
+
+He has nothing else in this world but her, and he watches her as the
+faithful dog guards his mistress. By her fragile side he looks like
+Hercules, but he is unconscious of this.
+
+"Jen," says he after a moment, "listen to what I tell you."
+
+Jenny, who shortly before had got up to look at the horse, now turns
+and, kneeling down before Orso, puts her two elbows on his knees,
+crosses her arms and, resting her chin on her wrists, uplifts her face
+and is all attention.
+
+At this moment, to the consternation of the children, the "artist of
+the whip" enters the ring in a very bad humor, because his trial with
+a lion had entirely failed.
+
+This lion, who was bald from old age, desired only to be let alone,
+had no inclination to attack the "artist," and hid himself from the
+lash of the whip in a far corner of the cage. The manager thought with
+despair that if this loyal disposition remained with the lion until
+the evening the contest with the whip would be a failure; for to fight
+a lion who slinks away needs no more art than to eat a lobster from
+his tail. The bad temper of the proprietor became still worse when he
+learned from the ticket seller that he was disposing of no seats in
+the "gods;" that the Cahuillas evidently had spent all their money
+that they had earned in the vineyards for drinks, and that they came
+to his window and offered their blankets, marked "U. S.," or their
+wives, especially the old ones, in exchange for tickets of admission.
+The lack of money among the Cahuillas was no small loss for the
+"artist of the whip;" for he counted on a "crowded house," and if the
+seats in the "gods" were not sold no "crowded house" was obtainable;
+therefore the manager wished at this moment that all the Indians had
+but one back, and that he might give an exhibition of his skill with
+the whip on that one back, in the presence of all Anaheim. Thus he
+felt as he entered the ring, and seeing the horse standing idle under
+the parapet, he felt like jumping with anger. Where are Orso and
+Jenny? Shading his eyes with his hand he looked all around the circus,
+and observed in a bright beam, Orso, and Jenny kneeling before him
+with her elbows resting on his knees. At this sight he let the lash of
+his whip trail on the ground.
+
+"Orso!"
+
+If lightning had struck in the midst of the children they could not
+have been more startled. Orso jumped to his feet and descended in the
+passageway between the benches with the hasty movement of an animal
+who comes to his master at his call; behind him followed Jenny with
+eyes wide open from fright, and clutching the benches as she passed
+them.
+
+Orso, on entering the ring, stopped by the parapet, gloomy and silent,
+the gray light from above bringing into relief his Herculean trunk
+upon its short legs.
+
+"Nearer," cried out the manager in a hoarse voice; meanwhile the lash
+of his long whip moved upon the sand with a threatening motion, like
+the tail of a tiger watching his approaching prey.
+
+Orso advanced several steps, and for a few minutes they looked into
+each other's eyes. The manager's face resembled that of the tamer who
+enters the cage, intending to subdue a dangerous animal, and at the
+same time watches it.
+
+His rage overcame his caution. His legs, incased in elk riding
+breeches and high boots, pranced under him with anger. Perhaps it was
+not the idleness alone of the children which increased his rage.
+Jenny, from above, looked at both of them like a frightened hare
+watching two lynxes.
+
+"Hoodlum! dog catcher, thou cur!" hissed the manager.
+
+The whip with the velocity of lightning whistled through the air in a
+circle, hissed and struck. Orso winced and howled a little, and
+stepped toward the manager, but the second stroke stopped him at once,
+then the third, fourth--tenth. The contest had begun, although there
+was no audience. The uplifted hand of the "great artist" scarcely
+moved, but his wrist revolved, as if a part of some machinery, and,
+with each revolution, the sharp point of the lash stung the skin of
+Orso. It seemed as if the whip, or rather its poisonous fang, filled
+the whole space between the athlete and the manager, who in his
+increasing excitement reached the genuine enthusiasm of the artist.
+The "master" simply improvised. The cracking end flashing in the air
+twice had written down its bloody trace on the bare neck of the
+athlete. Orso was silent in this dance. At every cut he stepped one
+step forward and the manager one step backward. In this way they
+circled the arena, and at last the manager backed out of the ring as a
+conqueror from the cage, and disappeared through the entrance to the
+stables, still as the conqueror. As he left his eye fell on Jenny.
+
+"Get on your horse," he cried; "I will settle with you later."
+
+His voice had scarcely ceased before her white skirt flashed in the
+air, and in a moment she was on the back of the horse. The manager had
+disappeared, and the horse began to gallop around the ring,
+occasionally striking the side with its hoofs.
+
+"Hep! Hep!" agitatedly said Jenny to the horse with her childish
+voice: "Hep! hep!" but this "hep, hep," was at the same time a sob.
+The horse increased his speed, clattering with his hoofs as he leaned
+more and more to the center. The girl, standing on the pad with her
+feet close together, seemed scarcely to touch it with the ends of her
+toes; her bare rosy arms rose and fell as she maintained her balance;
+her hair and light muslin dress floated behind her supple figure,
+which looked like a bird circling in the air.
+
+"Hep! hep!" she kept exclaiming. Meanwhile her eyes were filled with
+tears, and to see she had to raise her head; the movement of the horse
+made her dizzy; the terrace of seats and the ring seemed to revolve
+around her; she wavered once, twice, and then fell down into the arms
+of Orso.
+
+"Oh! Orso, poor Orso!" cried the child.
+
+"What's the matter, Jen? why do you cry? I don't feel the pain, I
+don't feel it."
+
+Jenny threw both her arms around his neck and began to kiss his
+cheeks. Her whole body trembled, and she sobbed convulsively.
+
+"Orso, oh, Orso," she sobbed, for she could not speak, and her arms
+clung closer to his neck. She could not have cried more if she had
+been beaten herself. So, in the end, he began to pet and console her.
+Forgetting his own pain he took her in his arms and pressed her to his
+heart, and his nerves being excited by the beating, he now felt for
+the first time that he loved her more than the dog loved his mistress.
+He breathed heavily, and his lips panted out the words:
+
+"I feel no pain. When you are with me, I am happy, Jenny, Jenny!"
+
+When this was transpiring the manager was walking in the stables,
+foaming with rage. His heart was filled with jealousy. He saw the girl
+on her knees before Orso; recently this beautiful child had awakened
+the lower instincts in him, but as yet undeveloped, and now he fancied
+that she and Orso loved each other, and he felt revengeful, and had a
+wild desire to punish her--to whip her soundly. This desire he could
+not resist. Shortly he called to her.
+
+She at once left Orso, and in a moment had disappeared in the dark
+entrance to the stables. Orso stood stupefied, and instead of
+following her he walked with unsteady steps to a bench, and, seating
+himself, began to breathe heavily.
+
+When the girl entered the stables she could see nothing, as it was
+much darker there than in the ring. Yet, fearing that she would be
+suspected of having delayed her coming, she cried out in a faint
+voice:
+
+"I am here, master, I am here."
+
+At the same moment the hand of the manager caught hers, and he
+hoarsely said:
+
+"Come!"
+
+If he had shown anger or badly scolded her she would have felt less
+frightened than at this silence with which he led her to the circus
+wardrobe. She hung back, resisting him, and repeating quickly:
+
+"Oh, dear Mr. Hirsch, forgive me! forgive me!"
+
+But forcibly he dragged her to the long room where they stored their
+costumes, and turned the key in the door.
+
+Jenny fell down on her knees. With uplifted eyes and folded hands,
+trembling as a leaf, the tears streaming down her cheeks, she tried to
+arouse his mercy; in answer to her supplications, he took from the
+wall a wire whip, and said:
+
+"Lie down."
+
+With despair she flung herself at his feet, nearly dying from fright.
+Every nerve of her body quivered; but vainly she pressed her pallid
+lips to his polished boots. Her alarm and pleading seemed to arouse
+the demon in him more than ever. Grasping her roughly, he threw her
+violently on a heap of dresses, and in an instant, after trying to
+stop the kicking of her feet, he began beating her cruelly.
+
+"Orso! Orso!" she shouted.
+
+About this moment the door shook on its hinges, rattled, creaked and
+gave way, and half of it, pushed in with a tremendous force, fell with
+a crash upon the ground.
+
+In this opening stood Orso.
+
+The wire whip fell from the hand of the manager, and his face became
+deadly pale, because Orso looked ferocious. His eyes were bloodshot,
+his lips covered with foam, his head inclined to one side like a
+bull's, and his whole body was crouched and gathered, as if ready to
+spring.
+
+"Get out!" cried the manager, trying to hide his fear behind a show of
+authority.
+
+The pent-up dam was already broken. Orso, who was usually as obedient
+to every motion as a dog, this time did not move, but leaning his head
+still more to one side, he moved slowly and threateningly toward the
+"artist of the whip," his iron muscles taut as whipcords.
+
+"Help! help!" cried the manager.
+
+They heard him.
+
+Four brawny negroes from the stables ran in through the broken door
+and fell upon Orso. A terrible fight ensued, upon which the manager
+looked with chattering teeth. For a long time you could see nothing
+but a tangled mass of dark bodies wrestling with convulsive movements,
+rolling on the ground in a writhing heap; in the silence which
+followed sometimes was heard a groan, a snort, loud short breathing,
+the gritting of teeth.
+
+In a moment one of the negroes, as if by a superhuman force, was sent
+from this formless mass, whirling headlong through the air, and fell
+at the feet of the manager, striking his skull with great force on the
+ground; soon a second flew out; then from the center of this turbulent
+group Orso's body alone arose, covered with blood and looking more
+terrible than before. His knees were still pressing heavily on the
+breasts of the two fainting negroes. He arose to his feet and moved
+toward the manager.
+
+Hirsch closed his eyes.
+
+The next moment he felt that his feet had left the ground, that he was
+flying through the air--then he felt nothing; his whole body was
+dashed with monstrous force into the remaining half of the door, and
+he fell to the earth unconscious.
+
+Orso wiped his face, and, coming over to Jenny, said:
+
+"Let us go."
+
+He took her by the hand and they went.
+
+The whole town was following the circus procession and the steam
+calliope, playing "Yankee Doodle," and the place around the circus was
+deserted. The parrots only, swinging in their hoops, filled the air
+with their cries. Hand in hand, Orso and Jenny went forward; from the
+end of the street could be seen the immense plains, covered with
+cacti. Silently they passed by the houses, shaded by the eucalyptus
+trees; then they passed the slaughter-houses, around which had
+gathered thousands of small black birds with red-tipped wings. They
+jumped over the large irrigation ditches, entered into an orange
+grove, and on emerging from it found themselves among the cacti.
+
+This was the desert.
+
+As far as the eye could reach these prickly plants rose higher and
+higher; thick leaves growing from other leaves obstructed the path,
+sometimes catching on Jenny's dress. In places they grew to such a
+great height that the children seemed to be as much lost here as if
+they were in the woods, and no one could find them there. So they kept
+threading their way through them, now to the right and then to the
+left, but careful always to go from the town. Sometimes between the
+cacti they could see on the horizon the blue mountains of Santa Ana.
+They went to the mountains. The heat was great. Gray-colored locusts
+chirped in the cacti; the sun's rays poured down upon the earth in
+streams; the dried-up earth was covered with a network of cracks; the
+stiff leaves of the cacti seemed to soften from the heat, and the
+flowers were languid and half-wilted. The children proceeded, silent
+and thoughtful. But all that surrounded them was so new that they
+surrendered themselves to their impressions, and for the moment forgot
+even their weariness. Jenny's eyes ran from one bunch of cacti to
+another; again she looked to the farther clusters, saying to her
+friend:
+
+"Is this the wilderness, Orso?"
+
+But the desert did not appear to be deserted. From the farther clumps
+came the calling of the male quail, and around sounded the different
+murmurs of clucking, of twittering, of the ruffling of feathers: in a
+word, the divers voices of the small inhabitants of the plains.
+Sometimes there flew up a whole covey of quail; the gaudy-topped
+pheasants scattered on their approach; the black squirrels dived into
+their holes; the rabbits disappeared in all directions; the gophers
+were sitting on their hind legs beside their holes, looking like fat
+German farmers standing in their doorway.
+
+After resting an hour the children proceeded on their journey. Jenny
+soon felt thirsty. Orso, in whom had awakened his Indian inventive
+faculties, began to pluck cactus fruits. They were in abundance, and
+grew together with the flowers on the same leaves. In plucking them
+they pricked their fingers with the sharp points, but the fruit was
+luscious. Their sweet and acid flavor quenched at once their thirst
+and appeased their hunger. The prairies fed the children as a mother;
+thus strengthened they could proceed further. The cacti arose higher,
+and you could say that they grew on the head of one another. The
+ground on which they walked ascended gradually and continuously.
+Looking backward once more they saw Anaheim, dissolving in the
+distance and looking like a grove of trees upon the low plains. Not a
+trace of the circus could be distinguished. They still pressed
+steadily onward to the mountains, which now became more distinct in
+the distance. The surroundings assumed another phase. Between the
+cacti appeared different bushes and even trees; the wooded portion of
+the foothills of Santa Ana had commenced. Orso broke one of the
+saplings, and, clearing off its branches, made a cudgel of it, which,
+in his hands, would prove a terrible weapon. His Indian instincts
+whispered to him that in the mountains it was better to be provided,
+even with a stick, than to go unarmed, especially now that the sun had
+lowered itself into the west. Its great fiery shield had rolled down
+far beyond Anaheim, into the blue ocean. After a while it disappeared,
+and in the west there gleamed red, golden, and orange lights, similar
+to ribbons and gauzy veils, stretched over the whole sky. The
+mountains uplifted themselves in this glow; the cacti assumed
+different fantastical shapes, resembling people and animals. Jenny
+felt tired and sleepy, but they still hastened to the mountains,
+although they knew not why. Soon they saw rocks, and on reaching them
+they discovered a stream; they drank some water and continued along
+its course. The rocks, which were at first broken and scattered, then
+changed into a solid wall, which became higher and higher, and soon
+they entered into a canyon.
+
+The rosy lights died away; deeper and deeper dusk enveloped the earth.
+In places immense vines reached from one side of the canyon to the
+other, covering it like a roof, and making it dark and uncanny. On the
+mountain side, above them, could be heard the voices of the swaying
+and creaking forest trees. Orso implied that now they were in the
+depths of the wilderness, where certainly there were many wild
+animals. From time to time his ear detected suspicious sounds, and
+when night fell he distinctly heard the hoarse mewing of the lynxes,
+the roar of the pumas, and the melancholy howling of the coyotes.
+
+"Are you afraid, Jen?" asked Orso.
+
+"No," replied the girl.
+
+But she was already very tired, and could proceed no farther, so Orso
+took her in his arms and carried her. He went forward with the hope
+that he would reach the house of some squatter, or should meet some
+Mexican campers. Once or twice it seemed to him that he saw the gleam
+of some wild animal's eyes. Then with one hand he pressed Jenny, who
+had now fallen asleep, to his breast, and with the other he grasped
+his stick. He was very tired himself; notwithstanding his great
+strength Jenny began to prove heavy to him, especially as he carried
+her on his left arm; the right one he wished to have free for defense.
+Occasionally he stopped to regain his breath and then continued on.
+Suddenly he paused and listened intently. It seemed to him as if he
+heard the echoes of the small bells which the settlers tie for the
+night to the neck of their cows and goats. Rushing forward, he soon
+reached a bend in the stream. The sound of the bells became more
+distinct, and joined with them in the distance was heard the barking
+of a dog. Then Orso was sure that he was nearing some settlement. It
+was high time that he did, for he was exhausted by the events of the
+day, and his strength had begun to fail him. On turning another bend
+he saw a light; as he moved forward his quick eyes discerned a
+campfire, a dog, evidently tied to a stump, tearing and barking, and
+at last the figure of a man seated by the fire.
+
+"God send that this may be a man from the 'good book'!" thought he.
+
+Then he resolved to awaken Jenny.
+
+"Jen!" called he, "awake, we shall eat."
+
+"What is it?" asked the girl; "where are we?"
+
+"In the wilderness."
+
+She was now wide awake.
+
+"What light is that?"
+
+"A man lives there; we shall eat."
+
+Poor Orso was very hungry.
+
+Meanwhile they were nearing the fire. The dog barked more violently,
+and the old man, sitting by the fire, shaded his eyes and peered into
+the gloom. Shortly he said:
+
+"Who is there?"
+
+"It is us," answered Jenny in her delicate voice, "and we are very
+hungry."
+
+"Come nearer," said the old man.
+
+Emerging from behind a great rock, which had partly concealed them,
+they both stood in the light of the fire, holding each other's hands.
+The old man looked at them with astonishment, and involuntarily
+exclaimed:
+
+"What is that?"
+
+For he saw a sight which, in the sparsely populated mountains of Santa
+Ana, would astonish any one. Orso and Jenny were dressed in their
+circus attire. The beautiful girl, clothed in pink tights and short
+white skirt, appearing so suddenly before him, looked in the firelight
+like some fairy sylph. Behind her stood the youth with his powerful
+figure, covered also with pink fleshings, through which you could see
+his muscles standing out like knots on the oak.
+
+The old squatter gazed at them with wide-open eyes.
+
+"Who are you?" he inquired.
+
+The girl, relying more on her own eloquence than on that of Orso,
+began to speak.
+
+"We are from the circus, kind sir! Mr. Hirsch beat Orso very much and
+then wanted to beat me, but Orso did not let him, and fought Mr.
+Hirsch and four negroes, and then we ran off on the plains, and went a
+long distance through the cacti, and Orso carried me; then we came
+here and are very hungry."
+
+The face of the old man softened and brightened as he listened to her
+story, and he looked with a fatherly interest on this charming child,
+who spoke with great haste, as if she wished to tell all in one
+breath.
+
+"What is your name, little one?" he asked.
+
+"Jenny."
+
+"Welcome, Jenny! and you, Orso! people rarely come here. Come to me,
+Jenny."
+
+Without hesitation the little girl put her arms around the neck of the
+old man and kissed him warmly. He appeared to her to be some one from
+the "good book."
+
+"Will Mr. Hirsch find us here?" she said, as she took her lips from
+his face.
+
+"If he comes he will find a bullet here," replied the old man; then
+added, "you said that you wanted to eat?"
+
+"Oh, yes, very much."
+
+The squatter, raking in the ashes of the fire, took out a fine leg of
+venison, the pleasant odor of which filled the air. Then they sat down
+to eat.
+
+The night was gorgeous; the moon came out high in the heavens above
+the canyon; in the thicket the mavis began to sing sweetly; the fire
+burned brightly, and Orso was so filled with joy that he chanted with
+gladness. Both he and the girl ate heartily. The old man had no
+appetite; he looked upon little Jenny, and, for some unknown cause,
+his eyes were filled with tears.
+
+Perhaps he had been once a father, or, perhaps, he so rarely saw
+people in these deserted mountains.
+
+       *       *       *       *       *
+
+Since then these three lived together.
+
+
+
+
+
+End of Project Gutenberg's Sielanka: An Idyll, by Henryk Sienkiewicz
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SIELANKA: AN IDYLL ***
+
+***** This file should be named 29305.txt or 29305.zip *****
+This and all associated files of various formats will be found in:
+        https://www.gutenberg.org/2/9/3/0/29305/
+
+Produced by Barbara Tozier, Bill Tozier and the Online
+Distributed Proofreading Team at https://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
+https://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+https://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including including checks, online payments and credit card
+donations.  To donate, please visit: https://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.