diff options
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 38065-8.txt | 1125 | ||||
| -rw-r--r-- | 38065-8.zip | bin | 0 -> 20189 bytes | |||
| -rw-r--r-- | 38065-h.zip | bin | 0 -> 211671 bytes | |||
| -rw-r--r-- | 38065-h/38065-h.htm | 1180 | ||||
| -rw-r--r-- | 38065-h/images/img01.jpg | bin | 0 -> 30721 bytes | |||
| -rw-r--r-- | 38065-h/images/img02.jpg | bin | 0 -> 32206 bytes | |||
| -rw-r--r-- | 38065-h/images/img03.jpg | bin | 0 -> 28994 bytes | |||
| -rw-r--r-- | 38065-h/images/img04.jpg | bin | 0 -> 39076 bytes | |||
| -rw-r--r-- | 38065-h/images/img05.jpg | bin | 0 -> 40485 bytes | |||
| -rw-r--r-- | 38065-h/images/img06.jpg | bin | 0 -> 31505 bytes | |||
| -rw-r--r-- | 38065.txt | 1125 | ||||
| -rw-r--r-- | 38065.zip | bin | 0 -> 20163 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
15 files changed, 3446 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/38065-8.txt b/38065-8.txt new file mode 100644 index 0000000..3d83a0b --- /dev/null +++ b/38065-8.txt @@ -0,0 +1,1125 @@ +The Project Gutenberg EBook of Eight or Nine Wise Words about +Letter-Writing, by Lewis Carroll + +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: Eight or Nine Wise Words about Letter-Writing + +Author: Lewis Carroll + +Release Date: November 20, 2011 [EBook #38065] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WISE WORDS ABOUT LETTER-WRITING *** + + + + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + + + + + EIGHT OR NINE + WISE WORDS + ABOUT + Letter-Writing + + + BY + _LEWIS CARROLL_ + + + EMBERLIN AND SON + 4, MAGDALEN STREET + OXFORD + + + + + FIRST PUBLISHED + 1890. + + + + +Contents. + + + PAGE. + + _On Stamp-Cases_ 5 + + _How to begin a Letter_ 9 + + _How to go on with a Letter_ 12 + + _How to end a Letter_ 21 + + _On registering Correspondence_ 23 + + + + +§ 1. _On Stamp-Cases._ + + +Some American writer has said "the snakes in this district may be divided +into one species--the venomous." The same principle applies here. +Postage-Stamp-Cases may be divided into one species, the "Wonderland." +Imitations of it will soon appear, no doubt: but they cannot include the +two Pictorial Surprises, which are copyright. + +You don't see why I call them 'Surprises'? Well, take the Case in your +left-hand, and regard it attentively. You see Alice nursing the Duchess's +Baby? (An entirely new combination, by the way: it doesn't occur in the +book.) Now, with your right thumb and forefinger, lay hold of the little +book, and suddenly pull it out. _The Baby has turned into a Pig!_ If +_that_ doesn't surprise you, why, I suppose you wouldn't be surprised if +your own Mother-in-law suddenly turned into a Gyroscope! + +This Case is _not_ intended to carry about in your pocket. Far from it. +People seldom want any other Stamps, on an emergency, than Penny-Stamps +for Letters, Sixpenny-Stamps for Telegrams, and a bit of Stamp-edging for +cut fingers (it makes capital sticking-plaster, and will stand three or +four washings, cautiously conducted): and all these are easily carried in +a purse or pocketbook. No, _this_ is meant to haunt your envelope-case, or +wherever you keep your writing-materials. What made me invent it was the +constantly wanting Stamps of other values, for foreign Letters, Parcel +Post, &c., and finding it very bothersome to get at the kind I wanted in +a hurry. Since I have possessed a "Wonderland Stamp Case", Life has been +bright and peaceful, and I have used no other. I believe the Queen's +laundress uses no other. + +Each of the pockets will hold 6 stamps, comfortably. I would recommend you +to arrange the 6, before putting them in, something like a _bouquet_, +making them lean to the right and to the left alternately: thus there will +always be a free _corner_ to get hold of, so as to take them out, quickly +and easily, one by one: otherwise you will find them apt to come out two +or three at a time. + +According to _my_ experience, the 5_d._, 9_d._, and 1_s._ Stamps are +hardly ever wanted, though I have constantly to replenish all the other +pockets. If your experience agrees with mine, you may find it convenient +to keep only a couple (say) of each of these 3 kinds, in the 1_s._ +pocket, and to fill the other 2 pockets with extra 1_d._ stamps. + + + + +§ 2. _How to begin a Letter._ + + +If the Letter is to be in answer to another, begin by getting out that +other letter and reading it through, in order to refresh your memory, as +to what it is you have to answer, and as to your correspondent's _present +address_ (otherwise you will be sending your letter to his regular address +in _London_, though he has been careful in writing to give you his +_Torquay_ address in full). + +Next, Address and Stamp the Envelope. "What! Before writing the _Letter_?" +Most certainly. And I'll tell you what will happen if you don't. You will +go on writing till the last moment, and just in the middle of the last +sentence, you will become aware that 'time's up!' Then comes the hurried +wind-up--the wildly-scrawled signature--the hastily-fastened envelope, +which comes open in the post--the address, a mere hieroglyphic--the +horrible discovery that you've forgotten to replenish your Stamp-Case--the +frantic appeal, to every one in the house, to lend you a Stamp--the +headlong rush to the Post Office, arriving, hot and gasping, just after +the box has closed--and finally, a week afterwards, the return of the +Letter, from the Dead-Letter Office, marked "address illegible"! + +Next, put your own address, _in full_, at the top of the note-sheet. It is +an aggravating thing----I speak from bitter experience----when a friend, +staying at some new address, heads his letter "Dover," simply, assuming +that you can get the rest of the address from his previous letter, which +perhaps you have destroyed. + +Next, put the date _in full_. It is another aggravating thing, when you +wish, years afterwards, to arrange a series of letters, to find them dated +"Feb. 17", "Aug. 2", without any year to guide you as to which comes +first. And never, never, dear Madam (N.B. this remark is addressed to +ladies _only_: no _man_ would ever do such a thing), put "Wednesday", +simply, as the date! + +"_That way madness lies._" + + + + +§ 3. _How to go on with a Letter._ + + +Here is a golden Rule to begin with. _Write legibly._ The average temper +of the human race would be perceptibly sweetened, if everybody obeyed this +Rule! A great deal of the bad writing in the world comes simply from +writing _too quickly_. Of course you reply, "I do it to save _time_". A +very good object, no doubt: but what right have you to do it at your +friend's expense? Isn't _his_ time as valuable as yours? Years ago, I used +to receive letters from a friend----and very interesting letters +too----written in one of the most atrocious hands ever invented. It +generally took me about a _week_ to read one of his letters! I used to +carry it about in my pocket, and take it out at leisure times, to puzzle +over the riddles which composed it----holding it in different positions, +and at different distances, till at last the meaning of some hopeless +scrawl would flash upon me, when I at once wrote down the English under +it; and, when several had been thus guessed, the context would help one +with the others, till at last the whole series of hieroglyphics was +deciphered. If _all_ one's friends wrote like that, Life would be entirely +spent in reading their letters! + +This Rule applies, specially, to names of people or places----and _most_ +specially to _foreign names_. I got a letter once, containing some Russian +names, written in the same hasty scramble in which people often write +"yours sincerely". The _context_, of course, didn't help in the least: and +one spelling was just as likely as another, so far as _I_ knew: it was +necessary to write and tell my friend that I couldn't read any of them! + +My second Rule is, don't fill _more_ than a page and a half with apologies +for not having written sooner! + +The best subject, to _begin_ with, is your friend's last letter. Write +with the letter open before you. Answer his questions, and make any +remarks his letter suggests. _Then_ go on to what you want to say +yourself. This arrangement is more courteous, and pleasanter for the +reader, than to fill the letter with your own invaluable remarks, and then +hastily answer your friend's questions in a postscript. Your friend is +much more likely to enjoy your wit, _after_ his own anxiety for +information has been satisfied. + +In referring to anything your friend has said in his letter, it is best to +_quote the exact words_, and not to give a summary of them in _your_ +words. _A's_ impression, of what _B_ has said, expressed in _A's_ words, +will never convey to _B_ the meaning of his own words. + +This is specially necessary when some point has arisen as to which the two +correspondents do not quite agree. There ought to be no opening for such +writing as "You are quite mistaken in thinking I said so-and-so. It was +not in the least my meaning, &c., &c.", which tends to make a +correspondence last for a lifetime. + +A few more Rules may fitly be given here, for correspondence that has +unfortunately become _controversial_. + +One is, _don't repeat yourself_. When once you have said your say, fully +and clearly, on a certain point, and have failed to convince your friend, +_drop that subject_: to repeat your arguments, all over again, will simply +lead to his doing the same; and so you will go on, like a Circulating +Decimal. _Did you ever know a Circulating Decimal come to an end?_ + +Another Rule is, when you have written a letter that you feel may possibly +irritate your friend, however necessary you may have felt it to so express +yourself, _put it aside till the next day_. Then read it over again, and +fancy it addressed to yourself. This will often lead to your writing it +all over again, taking out a lot of the vinegar and pepper, and putting in +honey instead, and thus making a _much_ more palatable dish of it! If, +when you have done your best to write inoffensively, you still feel that +it will probably lead to further controversy, _keep a copy of it_. There +is very little use, months afterwards, in pleading "I am almost sure I +never expressed myself as you say: to the best of my recollection I said +so-and-so". _Far_ better to be able to write "I did _not_ express myself +so: these are the words I used." + +My fifth Rule is, if your friend makes a severe remark, either leave it +unnoticed, or make your reply distinctly _less_ severe: and if he makes a +friendly remark, tending towards 'making up' the little difference that +has arisen between you, let your reply be distinctly _more_ friendly. If, +in picking a quarrel, each party declined to go more than _three-eighths_ +of the way, and if, in making friends, each was ready to go _five-eighths_ +of the way--why, there would be more reconciliations than quarrels! Which +is like the Irishman's remonstrance to his gad-about daughter--"Shure, +you're _always_ goin' out! You go out _three_ times, for _wanst_ that you +come in!" + +My sixth Rule (and my last remark about controversial correspondence) is, +_don't try to have the last word_! How many a controversy would be nipped +in the bud, if each was anxious to let the _other_ have the last word! +Never mind how telling a rejoinder you leave unuttered: never mind your +friend's supposing that you are silent from lack of anything to say: let +the thing drop, as soon as it is possible without discourtesy: remember +'speech is silvern, but silence is golden'! (N.B.--If you are a gentleman, +and your friend a lady, this Rule is superfluous: _you won't get the last +word_!) + +My seventh Rule is, if it should ever occur to you to write, jestingly, in +_dispraise_ of your friend, be sure you exaggerate enough to make the +jesting _obvious_: a word spoken in _jest_, but taken as _earnest_, may +lead to very serious consequences. I have known it to lead to the +breaking-off of a friendship. Suppose, for instance, you wish to remind +your friend of a sovereign you have lent him, which he has forgotten to +repay--you might quite _mean_ the words "I mention it, as you seem to have +a conveniently bad memory for debts", in jest: yet there would be nothing +to wonder at if he took offence at that way of putting it. But, suppose +you wrote "Long observation of your career, as a pickpocket and a burglar, +has convinced me that my one lingering hope, for recovering that sovereign +I lent you, is to say 'Pay up, or I'll summons yer!'" he would indeed be a +matter-of-fact friend if he took _that_ as seriously meant! + +My eighth Rule. When you say, in your letter, "I enclose cheque for £5", +or "I enclose John's letter for you to see", leave off writing for a +moment--go and get the document referred to--and _put it into the +envelope_. Otherwise, you are pretty certain to find it lying about, +_after the Post has gone_! + +My ninth Rule. When you get to the end of a note-sheet, and find you have +more to say, take another piece of paper--a whole sheet, or a scrap, as +the case may demand: but, whatever you do, _don't cross_! Remember the old +proverb '_Cross-writing makes cross reading_'. "The _old_ proverb?" you +say, enquiringly. "_How_ old?" Well, not so _very_ ancient, I must +confess. In fact, I'm afraid I invented it while writing this paragraph! +Still, you know, 'old' is a _comparative_ term. I think you would be +_quite_ justified in addressing a chicken, just out of the shell, as "Old +boy!", _when compared_ with another chicken, that was only half-out! + + + + +§ 4. _How to end a Letter._ + + +If doubtful whether to end with 'yours faithfully', or 'yours truly', or +'yours most truly', &c. (there are at least a dozen varieties, before you +reach 'yours affectionately'), refer to your correspondent's last letter, +and make your winding-up _at least as friendly as his_; in fact, even if a +shade _more_ friendly, it will do no harm! + +A Postscript is a very useful invention: but it is _not_ meant (as so many +ladies suppose) to contain the real _gist_ of the letter: it serves rather +to throw into the shade any little matter we do _not_ wish to make a fuss +about. For example, your friend had promised to execute a commission for +you in town, but forgot it, thereby putting you to great inconvenience: +and he now writes to apologize for his negligence. It would be cruel, and +needlessly crushing, to make it the main subject of your reply. How much +more gracefully it comes in thus! "P.S. Don't distress yourself any more +about having omitted that little matter in town. I won't deny that it +_did_ put my plans out a little, at the time: but it's all right now. I +often forget things, myself: and 'those who live in glass-houses, mustn't +throw stones', you know!" + +When you take your letters to the Post, _carry them in your hand_. If you +put them in your pocket you will take a long country-walk (I speak from +experience), passing the Post-Office _twice_, going and returning, and, +when you get home, will find them _still_ in your pocket. + + + + +§ 5. _On registering Correspondence._ + + +Let me recommend you to keep a record of Letters Received and Sent. I have +kept one for many years, and have found it of the greatest possible +service, in many ways: it secures my _answering_ Letters, however long +they have to wait; it enables me to refer, for my own guidance, to the +details of previous correspondence, though the actual Letters may have +been destroyed long ago; and, most valuable feature of all, if any +difficulty arises, years afterwards, in connection with a half-forgotten +correspondence, it enables me to say, with confidence, "I did _not_ tell +you that he was 'an _invaluable_ servant in _every_ way', and that you +_couldn't_ 'trust him too much'. I have a _précis_ of my letter. What I +said was 'he is a _valuable_ servant in _many_ ways, but _don't_ trust him +too much'. So, if he's cheated you, you really must not hold _me_ +responsible for it!" + +I will now give you a few simple Rules for making, and keeping, a +Letter-Register. + +Get a blank book, containing (say) 200 leaves, about 4 inches wide and 7 +high. It should be _well_ fastened into its cover, as it will have to be +opened and shut hundreds of times. Have a line ruled, in red ink, down +each margin of every page, an inch off the edge (the margin should be wide +enough to contain a number of 5 digits, easily: _I_ manage with a 3/4 inch +margin: but, unless you write very small you will find an inch more +comfortable). + +Write a _précis_ of each Letter, received or sent, in chronological +order. Let the entry of a 'received' Letter reach from the left-hand edge +to the right-hand marginal line; and the entry of a 'sent' Letter from the +left-hand marginal line to the right-hand edge. Thus the two kinds will be +quite distinct, and you can easily hunt through the 'received' Letters by +themselves, without being bothered with the 'sent' Letters; and _vice +versâ_. + +Use the _right-hand_ pages only: and, when you come to the end of the +book, turn it upside-down, and begin at the other end, still using +right-hand pages. You will find this much more comfortable than using +left-hand pages. + +You will find it convenient to write, at the top of every sheet of a +'received' Letter, its Register-Number in full. + +I will now give a few (ideal) specimen pages of my Letter-Register, and +make a few remarks on them: after which I think you will find it easy +enough to manage one for yourself. + + 29217| /90. || + -------+ || + (217) |Ap. 1 (Tu.) _Jones, Mrs._ am ||27518 + sendg, |as present from self and Mr. || + J., a |white elephant. ||225 + -------+----------------------------------|| + (218) |do. _Wilkins & Co._ bill, for||28743 + grand |piano, £175 10_s._ 6_d._ [pd||221, 2 + -------+----------------------------------|| + (219) |do. _Scareham, H._ [writes from|| + 'Grand | Hotel, Monte Carlo'] asking || + to borr|ow £50 for a few weeks (!) ||[symbol] + -------+----------------------------------+-------- + [symbol]||(220) do. _Scareham, H._ would| like to + ||know _object_, for wh loan is | asked, + ||and _security_ offered. | + ||----------------------------------+-------- + 218||(221) Ap. 3. _Wilkins & Co._ ||in pre- + ||vious letter, now before me, || you + ||undertook to supply one for ||£120: + 246||decling to pay more. || + ||----------------------------------+-------- + 23514||(222) do. _Cheetham & Sharp._ | have + 218 ||written 221--enclosing previo|us let- + 228||ter--is law on my side? | [ + ------++----------------------------------++------- + (223) ||Ap. 4. _Manager, Goods Statn_,|| + _G. N.||R._ White Elephant arrived, ad- || + dresse||d to you--send for it at once-- || + 'very ||savage'. ||226 + -------+----------------------------------+-------- + | | + | | + + + 29225 | /90. | + ------++ | + 217||(225) Ap. 4. (F) _Jones, Mrs._ th||anks, + ||but no room for it at present, am||send- + 230||ing it to Zoological Gardens. || + ||----------------------------------++------- + 223||(226) do. _Manager, Goods Sta||tn, G._ + ||_N. R._ please deliver, to bearer||of this + ||note, case containg White Ele-||phant + ||addressed to me. || + ||----------------------------------+-------- + ||(227) do. _Director Zool. Garde |ns._ (en- + 223 ||closing above note to R. W. Ma|nager) + ||call for valuable animal, prese|nted to + 229||Gardens. | + -------+----------------------------------+-------- + (228) |Ap. 8. _Cheetham & Sharp._ you||222 + misquo|te enclosed letter, limit named || + is £18|0. ||237 + -------+----------------------------------||------- + (229) |Ap. 9. _Director, Zoo. Gardens._||227 + case de|livered to us contained 1 doz.|| 230 + Port--|consumed at Directors' Ban-|| + quet--|many thanks. || + -------+----------------------------------+-------- + 225||(230) do. T _Jones, Mrs._ why | call a + [symbol]||doz. of Port a 'White Elephant'? | + -------+----------------------------------+-------- + (231) |do. T _Jones, Mrs._ 'it was a ||[symbol] + joke'. | || + -------+----------------------------------+-------- + | | + | | + + + 29233 | /90. | + -------+ | + ||(233) Ap. 10. (Th) _Page & Co._|orderg + ||Macaulay's Essays and "Jane |Eyre" + 242||(cheap edtn). | + -------+----------------------------------+-------- + (234) |do. _Aunt Jemima_--invitg for || + 2 or 3 |days after the 15th. [ || 236 + -------+----------------------------------|| + (235) |do. _Lon. and West. Bk._ have || + recevd |£250, pd to yr Acct fm Parkins || + & Co. |Calcutta [en || + -------+----------------------------------+-------- + 234||(236) do. _Aunt Jemima_--can|not + ||possibly come this month, will|write + 239||when able. | [ + ||----------------------------------+-------- + 228||(237) Ap. 11. _Cheetham and |Co._ re- + 240||turn letter enclosed to you. | [× + ||----------------------------------+-------- + ||(238) do. _Morton, Philip._ Co|uld you + ||lend me Browning's 'Dramati|s Per- + 245||sonæ' for a day or 2? | + -------+----------------------------------+-------- + (239) |Ap. 14. _Aunt Jemima_, leav- ||236 + ing ho|use at end of month : address || + '136, |Royal Avenue, Bath.' [ || + -------+----------------------------------|| + (240) |Ap. 15. _Cheetham and Co._, ||237 + returng|letter as reqd, bill 6/6/8. [ ||244 + -------+----------------------------------+-------- + | | + | | + + + 29242 | /90. | + -------+ | + (242) |Ap. 15. (Tu) _Page & Co._ bill ||} 233 + for boo|ks, as ordered, 15/6 [ ||} + -------+----------------------------------||} + (243) |do. ¶ _do._ books ||} 247 + -------+----------------------------------+-------- + 240||(244) do. _Cheetham and Co._ c|an un- + 248||derstand the 6/8--what is £6|for? + -------+----------------------------------+-------- + (245) |Ap. 17. ¶ _Morton, P._ 'Dra- ||238 + matis |Personæ', as asked for. [retd ||249 + -------+----------------------------------+-------- + 221||(246) do. _Wilkins and Co._ w|ith + 250||bill, 175/10/6, and ch. for do.| [en + ||----------------------------------+-------- + 243||(247) do. _Page and Co._ bill,| 15/6, + ||postal [symbol]107258 for 15/- and|6 stps. + -------+----------------------------------+-------- + (248) |Ap. 18. _Cheetham and Co._ it ||244 + was a |'clerical error' (!) || + -------+----------------------------------+-------- + 245||(249) Ap. 19. _Morton, P._ retu|rng + ||Browning with many thanks. | + -------+----------------------------------+-------- + (250) |do. _Wilkins and Co._ receptd ||246 + bill. | || + -------+----------------------------------+-------- + | | + | | + +I begin each page by putting, at the top left-hand corner, the next +entry-number I am going to use, _in full_ (the last 3 digits of each +entry-number are enough afterwards); and I put the date of the year, at +the top, in the centre. + +I begin each entry with the last 3 digits of the entry-number, enclosed in +an oval (this is difficult to reproduce in print, so I have put +round-parentheses here). Then, for the _first_ entry in each page, I put +the day of the month and the day of the week: afterwards, 'do.' is enough +for the month-day, till it changes: I do not repeat the week-day. + +Next, if the entry is _not_ a letter, I put a symbol for 'parcel' (see +Nos. 243, 245) or 'telegram' (see Nos. 230, 231) as the case may be. + +Next, the name of the person, underlined (indicated here by italics). + +If an entry needs special further attention, I put [____ at the end: and, +when it has been attended to, I fill in the appropriate symbol, e.g. in +No. 218, it showed that the bill had to be _paid_; in No. 222, that an +answer was really _needed_ (the '×' means 'attended to'); in No. 234, that +I owed the old lady a visit; in No. 235, that the item had to be entered +in my account book; in No. 236, that I must not forget to write; in No. +239, that the address had to be entered in my address-book; in No. 245, +that the book had to be returned. + +I give each entry the space of 2 lines, whether it fills them or not, in +order to have room for references. And, at the foot of each page I leave 2 +or 3 lines _blank_ (often useful afterwards for entering omitted Letters) +and miss one or 2 numbers before I begin the next page. + +At any odd moments of leisure, I 'make up' the entry-book, in various +ways, as follows:-- + +(1) I draw a _second_ line, at the right-hand end of the 'received' +entries, and at the left-hand end of the 'sent' entries. This I usually do +pretty well 'up to date'. In my Register the first line is _red_, the +second _blue_: here I distinguish them by making the first thin, and the +second _thick_. + +(2) Beginning with the last entry, and going backwards, I read over the +names till I recognise one as having occurred already: I then link the two +entries together, by giving the one, that comes first in chronological +order, a 'foot-reference' (see Nos. 217, 225). I do not keep this +'up-to-date', but leave it till there are 4 or 5 pages to be done. I work +back till I come among entries that are all supplied with +'foot-references', when I once more glance through the last few pages, to +see if there are any entries not yet supplied with head-references: +_their_ predecessors may need a special search. If an entry is connected, +in subject, with another under a different name, I link them by +cross-references, distinguished from the head- and foot-references by +being written _further from the marginal line_ (see No. 229). When 2 +consecutive entries have the same name, and are both of the same kind +(i.e. both 'received' or both 'sent') I bracket them (see Nos. 242, 243); +if of different kinds, I link them with the symbol used for Nos. 219, 220. + +(3) Beginning at the earliest entry not yet done with, and going forwards, +I cross out every entry that has got a head- and foot-reference, and is +done with, by continuing the extra line _through_ it (see Nos. 221, 223, +225). Thus, wherever a _break_ occurs in this extra line, it shows there +is some matter still needing attention. I do not keep this anything like +'up to date', but leave it till there are 30 or 40 pages to look through +at a time. When the first page in the volume is thus completely crossed +out, I put a mark at the foot of the page to indicate this; and so with +pages 2, 3, &c. Hence, whenever I do this part of the 'making up', I need +not begin at the beginning of the volume, but only at the _earliest page +that has not got this mark_. + +All this looks very complicated, when stated at full length: but you will +find it perfectly simple, when you have had a little practice, and will +come to regard the 'making-up' as a pleasant occupation for a rainy day, +or at any time that you feel disinclined for more severe mental work. In +the Game of Whist, Hoyle gives us one golden Rule, "When in doubt, win the +trick"--I find that Rule admirable for real life: when in doubt what to +do, I 'make-up' my Letter-Register! + + +THE END. + + + + +Works by Lewis Carroll. + +PUBLISHED BY + +MACMILLAN & CO., Ltd., LONDON. + + +Alice's Adventures in Wonderland. With Forty-two Illustrations by TENNIEL. +(First published in 1865.) Crown 8vo, cloth, gilt edges, price 6_s._ net. +Ninetieth Thousand. + +The same; People's Edition. (First published in 1887.) Crown 8vo, cloth, +price 2_s._ 6_d._ net. One hundred and forty-third Thousand. + +The same; Illustrated Pocket Classics for the Young. Fcap. 8vo, cloth, +with full gilt back and gilt top, 2_s._ net. Limp leather, with full gilt +back and gilt edges, 3_s._ net. + +The same. 8vo, sewed, 6_d._; cloth, 1_s._ + +The same; Miniature Edition. Pott 8vo, 1_s._ net. + +The same; Little Folks' Edition. Square 16mo. With Coloured Illustrations. +1_s._ net. + +Aventures d'Alice au pays des Merveilles. Traduit de l'Anglais par HENRY +BUE. Ouvrage illustré de 42 Vignettes par JOHN TENNIEL. (First published +in 1869.) Crown 8vo, cloth, gilt edges, price 6_s._ net. Second Thousand. + +Le Avventure d'Alice nel paese delle Meraviglie. Tradotte dall' Inglese da +T. PIETROCOLA-ROSSETTI. Con 42 Vignette di GIOVANNI TENNIEL. (First +published in 1872.) Crown 8vo, cloth, gilt edges, price 6_s._ net. + +Alice's Adventures Under Ground. Being a Facsimile of the original MS. +Book, which was afterwards developed into "Alice's Adventures in +Wonderland." With Thirty-seven Illustrations by the Author. (Begun, July, +1862; finished, Feb., 1863; first published, in facsimile, in 1886.) Crown +8vo, cloth, gilt edges, price 4_s._ net. Fourth Thousand. + +Through the Looking-Glass; and what Alice found there. With Fifty +Illustrations by TENNIEL. (First published in 1871.) Crown 8vo, cloth, +gilt edges, price 6_s._ net. Sixty-third Thousand. + +The same; People's Edition. (First published in 1887.) Crown 8vo, cloth, +price 2_s._ 6_d._ net. Eighty-fourth Thousand. + +The same; Illustrated Pocket Classics for the Young. Fcap. 8vo, cloth, +with full gilt back and gilt top, 2_s._ net. Limp leather, with full gilt +back and gilt edges, 3_s._ net. + +The same. 8vo, sewed, 6_d._; cloth 1_s._ + +The same; Little Folks' Edition. Square 16mo. With Coloured Illustrations. +1_s._ 6_d._ net. + +Alice's Adventures in Wonderland; and Through the Looking-Glass; People's +Editions. Both Books together in One Volume. (First published in 1887.) +Crown 8vo, cloth, price 4_s._ 6_d._ net. + +The Hunting of the Snark. An Agony in Eight Fits. With Nine Illustrations, +and two large gilt designs on cover, by HENRY HOLIDAY. (First published in +1876.) Crown 8vo, cloth, gilt edges, price 4_s._ 6_d._ net. Twenty-third +Thousand. + +Rhyme? and Reason? With Sixty-five Illustrations by ARTHUR B. FROST, and +Nine by HENRY HOLIDAY. (First published in 1883, being a reprint, with a +few additions, of the comic portions of "Phantasmagoria, and other Poems," +published in 1869, and of "The Hunting of the Snark," published in 1876.) +Crown 8vo, cloth, gilt edges, price 6_s._ net. Eighth Thousand. + +Sylvie and Bruno concluded. With Forty-six Illustrations by HARRY FURNISS. +(First published in 1893.) Fifth Thousand. Crown 8vo, cloth, gilt edges, +price 7_s._ 6_d._ net. People's Edition, 2_s._ 6_d._ net. N.B.--This book +contains 411 pages. + +The Story of Sylvie and Bruno, In One Volume. With Illustrations by HARRY +FURNISS. Crown 8vo, 3_s._ 6_d._ net. + +Three Sunsets, and other Poems. With Twelve Illustrations by E. GERTRUDE +THOMSON. Fcap. 4to, cloth, gilt edges, price 4_s._ net. + +N.B.--This is a reprint, with a few additions, of the serious portion of +"Phantasmagoria, and other Poems," published in 1869. + + + + +Works by Lewis Carroll. + +PUBLISHED BY CHATTO & WINDUS, + +111 ST. MARTIN'S LANE, LONDON, W.C. + + +Price 1_s._ net, boards; 2_s._ net, bound in leather. + +FEEDING THE MIND. + +A lecture delivered in 1884. + +With Preface by WILLIAM H. DRAPER. + +ALWAYS IN STOCK AT + +EMBERLIN & SON, OXFORD. + +POSTAGE ONE PENNY. + + +ADVICE TO WRITERS. + +Buy "THE WONDERLAND CASE FOR POSTAGE-STAMPS," invented by LEWIS CARROLL, +October 29, 1888, size 4 inches by 3, containing 12 separate pockets for +stamps of different values, 2 Coloured Pictorial Surprises taken from +_Alice in Wonderland_, and 8 or 9 Wise Words about Letter-Writing. It is +published by Messrs. EMBERLIN & SON, 4 Magdalen Street, Oxford. Price +1_s._ + +N.B.--If ordered by Post, an additional payment will be required, to cover +cost of postage, as follows:-- + +One, two, three, or four copies, 1_d._ Five to fourteen do., 3_d._ Each +subsequent fourteen or fraction thereof, 1_d._ + + + + + The Wonderland + + [Illustration] + + Postage-Stamp Case + + + PUBLISHED BY + EMBERLIN AND SON, + 4, MAGDALEN STREET, + OXFORD. + + [Illustration] + + (POST FREE, 13d.) + PRICE ONE SHILLING + + [Illustration] + + [Illustration] + + [Illustration] + + + Invented by + + [Illustration] + + Lewis Carroll + MDCCCLXXXIX + + + + +Transcriber's Notes: + +Passages in italics are indicated by _italics_. + +The original text includes an intention blank space that is represented in +this text version as ____. + + + + + + +End of the Project Gutenberg EBook of Eight or Nine Wise Words about +Letter-Writing, by Lewis Carroll + +*** END OF THIS PROJECT GUTENBERG EBOOK WISE WORDS ABOUT LETTER-WRITING *** + +***** This file should be named 38065-8.txt or 38065-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/0/6/38065/ + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +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 1.F.3. 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. diff --git a/38065-8.zip b/38065-8.zip Binary files differnew file mode 100644 index 0000000..cc6aeef --- /dev/null +++ b/38065-8.zip diff --git a/38065-h.zip b/38065-h.zip Binary files differnew file mode 100644 index 0000000..54957d3 --- /dev/null +++ b/38065-h.zip diff --git a/38065-h/38065-h.htm b/38065-h/38065-h.htm new file mode 100644 index 0000000..a3c3467 --- /dev/null +++ b/38065-h/38065-h.htm @@ -0,0 +1,1180 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + Eight or Nine Wise Words about Letter-Writing, by Lewis Carroll—A Project Gutenberg eBook + </title> + + <style type="text/css"> + + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + + body {margin-left: 12%; margin-right: 12%;} + + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right; font-style: normal;} + + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + + hr {width: 33%; margin-top: 2em; margin-bottom: 2em; margin-left: auto; margin-right: auto; clear: both;} + + table {margin-left: auto; margin-right: auto;} + .bt {border-top: solid 1px; padding-left: 0.5em; padding-right: 0.5em;} + .btr {border-top: solid 1px; border-right: solid black 1px; padding-left: 0.5em; padding-right: 0.5em;} + .br {border-right: solid 1px; padding-left: 0.5em; padding-right: 0.5em;} + .brbold {border-right: solid 3px; padding-left: 0.5em; padding-right: 0.5em;} + .btrbold {border-top: solid 1px; border-right: solid 3px; padding-left: 0.5em; padding-right: 0.5em;} + .blbold {border-left: solid 3px; padding-left: 0.5em; padding-right: 0.5em;} + .btlbold {border-top: solid 1px; border-left: solid 3px; padding-left: 0.5em; padding-right: 0.5em;} + .dent {padding-left: 0.5em; padding-right: 0.5em;} + + .giant {font-size: 200%} + .huge {font-size: 150%} + .large {font-size: 125%} + + .hang {margin-left: 2em; text-indent: -2em;} + + .right {text-align: right;} + .center {text-align: center;} + + .smcap {font-variant: small-caps;} + + .figcenter {margin: auto; text-align: center;} + + a:link {color:#0000ff; text-decoration:none} + a:visited {color:#6633cc; text-decoration:none} + + .spacer {padding-left: 1em; padding-right: 1em;} + + .verts {margin-left: 20%; margin-right: 20%;} + .box {border: solid 1.5px; padding-left: 1em; padding-right: 1em; width: 15em; text-align: center; margin: auto;} + + .border {border-style: double; border-width: 7px; margin: auto; width: 25em;} + + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Eight or Nine Wise Words about +Letter-Writing, by Lewis Carroll + +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: Eight or Nine Wise Words about Letter-Writing + +Author: Lewis Carroll + +Release Date: November 20, 2011 [EBook #38065] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK WISE WORDS ABOUT LETTER-WRITING *** + + + + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + +</pre> + + + +<div class="border"> +<p class="center"><span class="large">EIGHT OR NINE</span></p> +<p class="center"><span class="huge">WISE WORDS</span></p> +<p class="center">ABOUT</p> +<p class="center"><span class="giant">Letter-Writing</span></p> + +<p> </p> +<p class="center"><small>BY</small><br /> +<i>LEWIS CARROLL</i></p> + +<p> </p> +<p class="center"><strong>EMBERLIN AND SON</strong><br /> +4, MAGDALEN STREET<br /> +<strong>OXFORD</strong></p></div> + + +<p> </p><p> </p> +<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p> +<div class="center"><p class="box">FIRST PUBLISHED<br />1890.</p></div> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p> +<h2>Contents.</h2> + +<table border="0" cellpadding="0" cellspacing="5" summary="table"> +<tr><td> </td><td align="right"><span class="smcap">Page.</span></td></tr> +<tr><td><i>On Stamp-Cases</i></td> + <td align="right"><a href="#Page_5">5</a></td></tr> +<tr><td><i>How to begin a Letter</i></td> + <td align="right"><a href="#Page_9">9</a></td></tr> +<tr><td><i>How to go on with a Letter</i></td> + <td align="right"><a href="#Page_12">12</a></td></tr> +<tr><td><i>How to end a Letter</i></td> + <td align="right"><a href="#Page_21">21</a></td></tr> +<tr><td><i>On registering Correspondence</i></td> + <td align="right"><a href="#Page_23">23</a></td></tr></table> + +<p><span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span></p> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> +<h2>§ 1. <i>On Stamp-Cases.</i></h2> + +<p>Some American writer has said “the snakes in this district may be divided +into one species—the venomous.” The same principle applies here. +Postage-Stamp-Cases may be divided into one species, the “Wonderland.” +Imitations of it will soon appear, no doubt: but they cannot include the +two Pictorial Surprises, which are copyright.</p> + +<p>You don’t see why I call them ‘Surprises’? Well, take the Case in your +left-hand, and regard it attentively. You see Alice nursing the Duchess’s +Baby? (An entirely new combination, by the way: it doesn’t occur in the +book.) Now, with your right thumb and forefinger, lay hold of the little +book, and<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> suddenly pull it out. <i>The Baby has turned into a Pig!</i> If +<i>that</i> doesn’t surprise you, why, I suppose you wouldn’t be surprised if +your own Mother-in-law suddenly turned into a Gyroscope!</p> + +<p>This Case is <i>not</i> intended to carry about in your pocket. Far from it. +People seldom want any other Stamps, on an emergency, than Penny-Stamps +for Letters, Sixpenny-Stamps for Telegrams, and a bit of Stamp-edging for +cut fingers (it makes capital sticking-plaster, and will stand three or +four washings, cautiously conducted): and all these are easily carried in +a purse or pocketbook. No, <i>this</i> is meant to haunt your envelope-case, or +wherever you keep your writing-materials. What made me invent it was the +constantly wanting Stamps of other values, for foreign Letters, Parcel +Post, &c., and finding it very bothersome to get at the<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span> kind I wanted in +a hurry. Since I have possessed a “Wonderland Stamp Case”, Life has been +bright and peaceful, and I have used no other. I believe the Queen’s +laundress uses no other.</p> + +<p>Each of the pockets will hold 6 stamps, comfortably. I would recommend you +to arrange the 6, before putting them in, something like a <i>bouquet</i>, +making them lean to the right and to the left alternately: thus there will +always be a free <i>corner</i> to get hold of, so as to take them out, quickly +and easily, one by one: otherwise you will find them apt to come out two +or three at a time.</p> + +<p>According to <i>my</i> experience, the 5<i>d.</i>, 9<i>d.</i>, and 1<i>s.</i> Stamps are +hardly ever wanted, though I have constantly to replenish all the other +pockets. If your experience agrees with mine, you may find it convenient +to<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span> keep only a couple (say) of each of these 3 kinds, in the 1<i>s.</i> +pocket, and to fill the other 2 pockets with extra 1<i>d.</i> stamps.</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p> +<h2>§ 2. <i>How to begin a Letter.</i></h2> + +<p>If the Letter is to be in answer to another, begin by getting out that +other letter and reading it through, in order to refresh your memory, as +to what it is you have to answer, and as to your correspondent’s <i>present +address</i> (otherwise you will be sending your letter to his regular address +in <i>London</i>, though he has been careful in writing to give you his +<i>Torquay</i> address in full).</p> + +<p>Next, Address and Stamp the Envelope. “What! Before writing the <i>Letter</i>?” +Most certainly. And I’ll tell you what will happen if you don’t. You will +go on writing till the last moment, and just in the middle of the last +sentence, you will become aware that ‘time’s up!’ Then comes the hurried +<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>wind-up—the wildly-scrawled signature—the hastily-fastened envelope, +which comes open in the post—the address, a mere hieroglyphic—the +horrible discovery that you’ve forgotten to replenish your Stamp-Case—the +frantic appeal, to every one in the house, to lend you a Stamp—the +headlong rush to the Post Office, arriving, hot and gasping, just after +the box has closed—and finally, a week afterwards, the return of the +Letter, from the Dead-Letter Office, marked “address illegible”!</p> + +<p>Next, put your own address, <i>in full</i>, at the top of the note-sheet. It is +an aggravating thing——I speak from bitter experience——when a friend, +staying at some new address, heads his letter “Dover,” simply, assuming +that you can get the rest of the address from his previous letter, which +perhaps you have destroyed.</p> + +<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>Next, put the date <i>in full</i>. It is another aggravating thing, when you +wish, years afterwards, to arrange a series of letters, to find them dated +“Feb. 17”, “Aug. 2”, without any year to guide you as to which comes +first. And never, never, dear Madam (N.B. this remark is addressed to +ladies <i>only</i>: no <i>man</i> would ever do such a thing), put “Wednesday”, +simply, as the date!</p> + +<p>“<i>That way madness lies.</i>”</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> +<h2>§ 3. <i>How to go on with a Letter.</i></h2> + +<p>Here is a golden Rule to begin with. <i>Write legibly.</i> The average temper +of the human race would be perceptibly sweetened, if everybody obeyed this +Rule! A great deal of the bad writing in the world comes simply from +writing <i>too quickly</i>. Of course you reply, “I do it to save <i>time</i>”. A +very good object, no doubt: but what right have you to do it at your +friend’s expense? Isn’t <i>his</i> time as valuable as yours? Years ago, I used +to receive letters from a friend——and very interesting letters +too——written in one of the most atrocious hands ever invented. It +generally took me about a <i>week</i> to read one of his letters! I used to +carry it about in my pocket, and take it out<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> at leisure times, to puzzle +over the riddles which composed it——holding it in different positions, +and at different distances, till at last the meaning of some hopeless +scrawl would flash upon me, when I at once wrote down the English under +it; and, when several had been thus guessed, the context would help one +with the others, till at last the whole series of hieroglyphics was +deciphered. If <i>all</i> one’s friends wrote like that, Life would be entirely +spent in reading their letters!</p> + +<p>This Rule applies, specially, to names of people or places——and <i>most</i> +specially to <i>foreign names</i>. I got a letter once, containing some Russian +names, written in the same hasty scramble in which people often write +“yours sincerely”. The <i>context</i>, of course, didn’t help in the least: and +one spelling was just as likely as another, so far as <i>I</i> knew: it was<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> +necessary to write and tell my friend that I couldn’t read any of them!</p> + +<p>My second Rule is, don’t fill <i>more</i> than a page and a half with apologies +for not having written sooner!</p> + +<p>The best subject, to <i>begin</i> with, is your friend’s last letter. Write +with the letter open before you. Answer his questions, and make any +remarks his letter suggests. <i>Then</i> go on to what you want to say +yourself. This arrangement is more courteous, and pleasanter for the +reader, than to fill the letter with your own invaluable remarks, and then +hastily answer your friend’s questions in a postscript. Your friend is +much more likely to enjoy your wit, <i>after</i> his own anxiety for +information has been satisfied.</p> + +<p>In referring to anything your friend has said in his letter, it is best to +<i>quote the exact words</i>, and not to give a summary of them<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> in <i>your</i> +words. <i>A’s</i> impression, of what <i>B</i> has said, expressed in <i>A’s</i> words, +will never convey to <i>B</i> the meaning of his own words.</p> + +<p>This is specially necessary when some point has arisen as to which the two +correspondents do not quite agree. There ought to be no opening for such +writing as “You are quite mistaken in thinking I said so-and-so. It was +not in the least my meaning, &c., &c.”, which tends to make a +correspondence last for a lifetime.</p> + +<p>A few more Rules may fitly be given here, for correspondence that has +unfortunately become <i>controversial</i>.</p> + +<p>One is, <i>don’t repeat yourself</i>. When once you have said your say, fully +and clearly, on a certain point, and have failed to convince your friend, +<i>drop that subject</i>: to repeat your arguments, all over again, will simply +lead to his doing the same; and so you will go on,<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> like a Circulating +Decimal. <i>Did you ever know a Circulating Decimal come to an end?</i></p> + +<p>Another Rule is, when you have written a letter that you feel may possibly +irritate your friend, however necessary you may have felt it to so express +yourself, <i>put it aside till the next day</i>. Then read it over again, and +fancy it addressed to yourself. This will often lead to your writing it +all over again, taking out a lot of the vinegar and pepper, and putting in +honey instead, and thus making a <i>much</i> more palatable dish of it! If, +when you have done your best to write inoffensively, you still feel that +it will probably lead to further controversy, <i>keep a copy of it</i>. There +is very little use, months afterwards, in pleading “I am almost sure I +never expressed myself as you say: to the best of my recollection I said +so-and-so”. <i>Far</i> better to be able to write “I did <i>not</i><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> express myself +so: these are the words I used.”</p> + +<p>My fifth Rule is, if your friend makes a severe remark, either leave it +unnoticed, or make your reply distinctly <i>less</i> severe: and if he makes a +friendly remark, tending towards ‘making up’ the little difference that +has arisen between you, let your reply be distinctly <i>more</i> friendly. If, +in picking a quarrel, each party declined to go more than <i>three-eighths</i> +of the way, and if, in making friends, each was ready to go <i>five-eighths</i> +of the way—why, there would be more reconciliations than quarrels! Which +is like the Irishman’s remonstrance to his gad-about daughter—“Shure, +you’re <i>always</i> goin’ out! You go out <i>three</i> times, for <i>wanst</i> that you +come in!”</p> + +<p>My sixth Rule (and my last remark about controversial correspondence) is, +<i>don’t try to<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> have the last word</i>! How many a controversy would be nipped +in the bud, if each was anxious to let the <i>other</i> have the last word! +Never mind how telling a rejoinder you leave unuttered: never mind your +friend’s supposing that you are silent from lack of anything to say: let +the thing drop, as soon as it is possible without discourtesy: remember +‘speech is silvern, but silence is golden’! (N.B.—If you are a gentleman, +and your friend a lady, this Rule is superfluous: <i>you won’t get the last +word</i>!)</p> + +<p>My seventh Rule is, if it should ever occur to you to write, jestingly, in +<i>dispraise</i> of your friend, be sure you exaggerate enough to make the +jesting <i>obvious</i>: a word spoken in <i>jest</i>, but taken as <i>earnest</i>, may +lead to very serious consequences. I have known it to lead to the +breaking-off of a friendship. Suppose, for instance, you wish to remind<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> +your friend of a sovereign you have lent him, which he has forgotten to +repay—you might quite <i>mean</i> the words “I mention it, as you seem to have +a conveniently bad memory for debts”, in jest: yet there would be nothing +to wonder at if he took offence at that way of putting it. But, suppose +you wrote “Long observation of your career, as a pickpocket and a burglar, +has convinced me that my one lingering hope, for recovering that sovereign +I lent you, is to say ‘Pay up, or I’ll summons yer!’” he would indeed be a +matter-of-fact friend if he took <i>that</i> as seriously meant!</p> + +<p>My eighth Rule. When you say, in your letter, “I enclose cheque for £5”, +or “I enclose John’s letter for you to see”, leave off writing for a +moment—go and get the document referred to—and <i>put it into the +envelope</i>. Otherwise, you are pretty certain<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> to find it lying about, +<i>after the Post has gone</i>!</p> + +<p>My ninth Rule. When you get to the end of a note-sheet, and find you have +more to say, take another piece of paper—a whole sheet, or a scrap, as +the case may demand: but, whatever you do, <i>don’t cross</i>! Remember the old +proverb ‘<i>Cross-writing makes cross reading</i>’. “The <i>old</i> proverb?” you +say, enquiringly. “<i>How</i> old?” Well, not so <i>very</i> ancient, I must +confess. In fact, I’m afraid I invented it while writing this paragraph! +Still, you know, ‘old’ is a <i>comparative</i> term. I think you would be +<i>quite</i> justified in addressing a chicken, just out of the shell, as “Old +boy!”, <i>when compared</i> with another chicken, that was only half-out!</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> +<h2>§ 4. <i>How to end a Letter.</i></h2> + +<p>If doubtful whether to end with ‘yours faithfully’, or ‘yours truly’, or +‘yours most truly’, &c. (there are at least a dozen varieties, before you +reach ‘yours affectionately’), refer to your correspondent’s last letter, +and make your winding-up <i>at least as friendly as his</i>; in fact, even if a +shade <i>more</i> friendly, it will do no harm!</p> + +<p>A Postscript is a very useful invention: but it is <i>not</i> meant (as so many +ladies suppose) to contain the real <i>gist</i> of the letter: it serves rather +to throw into the shade any little matter we do <i>not</i> wish to make a fuss +about. For example, your friend had promised to execute a commission for +you in town, but forgot it, thereby putting you to<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> great inconvenience: +and he now writes to apologize for his negligence. It would be cruel, and +needlessly crushing, to make it the main subject of your reply. How much +more gracefully it comes in thus! “P.S. Don’t distress yourself any more +about having omitted that little matter in town. I won’t deny that it +<i>did</i> put my plans out a little, at the time: but it’s all right now. I +often forget things, myself: and ‘those who live in glass-houses, mustn’t +throw stones’, you know!”</p> + +<p>When you take your letters to the Post, <i>carry them in your hand</i>. If you +put them in your pocket you will take a long country-walk (I speak from +experience), passing the Post-Office <i>twice</i>, going and returning, and, +when you get home, will find them <i>still</i> in your pocket.</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p> +<h2>§ 5. <i>On registering Correspondence.</i></h2> + +<p>Let me recommend you to keep a record of Letters Received and Sent. I have +kept one for many years, and have found it of the greatest possible +service, in many ways: it secures my <i>answering</i> Letters, however long +they have to wait; it enables me to refer, for my own guidance, to the +details of previous correspondence, though the actual Letters may have +been destroyed long ago; and, most valuable feature of all, if any +difficulty arises, years afterwards, in connection with a half-forgotten +correspondence, it enables me to say, with confidence, “I did <i>not</i> tell +you that he was ‘an <i>invaluable</i> servant in<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> <i>every</i> way’, and that you +<i>couldn’t</i> ‘trust him too much’. I have a <i>précis</i> of my letter. What I +said was ‘he is a <i>valuable</i> servant in <i>many</i> ways, but <i>don’t</i> trust him +too much’. So, if he’s cheated you, you really must not hold <i>me</i> +responsible for it!”</p> + +<p>I will now give you a few simple Rules for making, and keeping, a +Letter-Register.</p> + +<p>Get a blank book, containing (say) 200 leaves, about 4 inches wide and 7 +high. It should be <i>well</i> fastened into its cover, as it will have to be +opened and shut hundreds of times. Have a line ruled, in red ink, down +each margin of every page, an inch off the edge (the margin should be wide +enough to contain a number of 5 digits, easily: <i>I</i> manage with a ¾ inch +margin: but, unless you write very small you will find an inch more +comfortable).</p> + +<p>Write a <i>précis</i> of each Letter, received or<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> sent, in chronological +order. Let the entry of a ‘received’ Letter reach from the left-hand edge +to the right-hand marginal line; and the entry of a ‘sent’ Letter from the +left-hand marginal line to the right-hand edge. Thus the two kinds will be +quite distinct, and you can easily hunt through the ‘received’ Letters by +themselves, without being bothered with the ‘sent’ Letters; and <i>vice +versâ</i>.</p> + +<p>Use the <i>right-hand</i> pages only: and, when you come to the end of the +book, turn it upside-down, and begin at the other end, still using +right-hand pages. You will find this much more comfortable than using +left-hand pages.</p> + +<p>You will find it convenient to write, at the top of every sheet of a +‘received’ Letter, its Register-Number in full.</p> + +<p>I will now give a few (ideal) specimen pages of my Letter-Register, and +make a<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> few remarks on them: after which I think you will find it easy +enough to manage one for yourself.</p> + +<p> </p> +<p><span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span></p> + +<table border="0" cellpadding="0" cellspacing="0" summary="table"> +<tr><td class="br">29217</td> + <td class="br" align="center">/90.</td> + <td class="blbold"> </td></tr> +<tr><td class="btr">(217)<br />sendg,<br />J., a</td> + <td class="btr">Ap. 1 (Tu.) <i>Jones, Mrs.</i> am<br />as present from self and Mr.<br />white elephant.</td> + <td class="blbold">27518<br /><br />225</td></tr> +<tr><td class="btr">(218)<br />grand</td> + <td class="btr">do. <i>Wilkins & Co.</i> bill, for<br />piano, £175 10<i>s.</i> 6<i>d.</i> [pd</td> + <td class="blbold">28743<br />221, 2</td></tr> +<tr><td class="btr">(219)<br />‘Grand<br />to borr</td> + <td class="btr">do. <i>Scareham, H.</i> [writes from<br />Hotel, Monte Carlo’] asking<br />ow £50 for a few weeks (!)</td> + <td class="blbold" valign="bottom"><span class="large"><strong>☉</strong></span></td></tr> +<tr><td class="btrbold" valign="top" align="right"><span class="large"><strong>☉</strong></span></td> + <td class="btr">(220) do. <i>Scareham, H.</i> would<br />know <i>object</i>, for wh loan is<br />and <i>security</i> offered.</td> + <td class="bt" valign="top">like to<br />asked,</td></tr> +<tr><td class="brbold" align="right">218<br /><br /><br />246</td> + <td class="btr">(221) Ap. 3. <i>Wilkins & Co.</i><br />vious letter, now before me,<br />undertook to supply one for<br />decling to pay more.</td> + <td class="btlbold" valign="top">in pre-<br />you<br />£120:</td></tr> +<tr><td class="brbold" align="right">23514<br /><span style="padding-right: 1em;">218</span><br />228</td> + <td class="btr">(222) do. <i>Cheetham & Sharp.</i><br />written 221—enclosing previo<br />ter—is law on my side?</td> + <td class="bt"><span style="padding-left: 1em;">have</span><br />us let-<br /> [</td></tr> +<tr><td class="btrbold">(223)<br /><i>G. N.</i><br />dresse<br />‘very</td> + <td class="btr">Ap. 4. <i>Manager, Goods Statn</i>,<br /><i>R.</i> White Elephant arrived, ad-<br />d to you—send for it at once—<br />savage’.</td> + <td class="btlbold" valign="bottom">226</td></tr> +<tr><td class="btr"> </td> + <td class="btr"> </td> + <td class="bt"> </td></tr></table> + +<p> </p><p> </p> +<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p> + +<table border="0" cellpadding="0" cellspacing="0" summary="table"> +<tr><td class="br">29225</td> + <td class="br" align="center">/90.</td></tr> +<tr><td class="btrbold" align="right">217<br /><br />230</td> + <td>(225) Ap. 4. (F) <i>Jones, Mrs.</i> th<br />but no room for it at present, am<br />ing it to Zoological Gardens.</td> + <td class="blbold">anks,<br />send-</td></tr> +<tr><td class="brbold" valign="top" align="right">223</td> + <td class="bt">(226) do. <i>Manager, Goods Sta</i><br /><i>N. R.</i> please deliver, to bearer<br />note, case containg White Ele-<br />addressed to me.</td> + <td class="btlbold"><i>tn, G.</i><br />of this<br />phant</td></tr> +<tr><td class="brbold" align="right"><br /><span style="padding-right: 1em;">223</span><br /><br />229</td> + <td class="btr">(227) do. <i>Director Zool. Garde</i><br />closing above note to R. W. Ma<br />call for valuable animal, prese<br />Gardens.</td> + <td class="dent" valign="top"><i>ns.</i> (en-<br />nager)<br />nted to</td></tr> +<tr><td class="btr">(228)<br />misquo<br />is £18</td> + <td class="bt">Ap. 8. <i>Cheetham & Sharp.</i> you<br />te enclosed letter, limit named<br />0.</td> + <td class="btlbold">222<br /><br />237</td></tr> +<tr><td class="btr">(229)<br />case de<br />Port—<br />quet—</td> + <td class="bt">Ap. 9. <i>Director, Zoo. Gardens.</i><br />livered to us contained 1 doz.<br />consumed at Directors’ Ban-<br />many thanks.</td> + <td class="blbold" valign="top">227<br /><span style="padding-left: 1em;">230</span></td></tr> +<tr><td class="btrbold" align="right">225<br /><span class="large"><strong>☉</strong></span></td> + <td class="btr">(230) do. <b>T</b> <i>Jones, Mrs.</i> why<br />doz. of Port a ‘White Elephant’?</td> + <td class="bt" valign="top">call a</td></tr> +<tr><td class="btr">(231)<br />joke’.</td> + <td class="bt" valign="top">do. <b>T</b> <i>Jones, Mrs.</i> ‘it was a</td> + <td class="btlbold" valign="top"><span class="large"><strong>☉</strong></span></td></tr> +<tr><td class="btr"> </td> + <td class="btr"> </td> + <td class="bt"> </td></tr></table> + +<p> </p><p> </p> +<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> + +<table border="0" cellpadding="0" cellspacing="0" summary="table"> +<tr><td class="br">29233</td> + <td class="br" align="center">/90.</td></tr> +<tr><td class="btrbold" valign="bottom" align="right">242</td> + <td class="btr">(233) Ap. 10. (Th) <i>Page & Co.</i><br />Macaulay’s Essays and “Jane<br />(cheap edtn).</td> + <td class="dent" valign="top">orderg<br />Eyre”</td></tr> +<tr><td class="btr">(234)<br />2 or 3</td> + <td class="bt">do. <i>Aunt Jemima</i>—invitg for<br /> days after the 15th.<span class="spacer"> </span>[</td> + <td class="btlbold" valign="bottom">236</td></tr> +<tr><td class="btr">(235)<br />recevd<br />& Co.</td> + <td class="bt">do. <i>Lon. and West. Bk.</i> have<br /> £250, pd to yr Acct fm Parkins<br />Calcutta<span style="margin-left: 6em;">[en</span></td> + <td class="blbold"> </td></tr> +<tr><td class="btrbold" align="right">234<br /><br />239</td> + <td class="btr">(236) do. <i>Aunt Jemima</i>—can<br />possibly come this month, will<br />when able.</td> + <td class="bt">not<br />write<br /><span style="margin-left: 1em;">[</span></td></tr> +<tr><td class="brbold" align="right">228<br />240</td> + <td class="btr">(237) Ap. 11. <i>Cheetham and</i><br />turn letter enclosed to you.</td> + <td class="bt"><i>Co.</i> re-<br /><span style="margin-left: 1em;">[×</span></td></tr> +<tr><td class="brbold" valign="bottom" align="right">245</td> + <td class="btr">(238) do. <i>Morton, Philip.</i> Co<br />lend me Browning’s ‘Dramati<br />sonæ’ for a day or 2?</td> + <td class="bt" valign="top">uld you<br />s Per-</td></tr> +<tr><td class="btr">(239)<br />ing ho<br />‘136,</td> + <td class="bt">Ap. 14. <i>Aunt Jemima</i>, leav-<br />use at end of month: address<br />Royal Avenue, Bath.’<span class="spacer"> </span>[</td> + <td class="btlbold" valign="top">236</td></tr> +<tr><td class="btr">(240)<br />returng</td> + <td class="bt">Ap. 15. <i>Cheetham and Co.</i>,<br />letter as reqd, bill 6/6/8.<span class="spacer"> </span>[</td> + <td class="blbold">237<br />244</td></tr> +<tr><td class="btr"> </td> + <td class="btr"> </td> + <td class="bt"> </td></tr></table> + +<p> </p><p> </p> +<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p> + +<table border="0" cellpadding="0" cellspacing="0" summary="table"> +<tr><td class="br">29242</td> + <td class="br" align="center">/90.</td></tr> +<tr><td class="btr">(242)<br />for boo</td> + <td class="bt">Ap. 15. (Tu) <i>Page & Co.</i> bill<br />ks, as ordered, 15/6<span class="spacer"> </span>[</td> + <td rowspan="2" class="blbold">233<br /><span class="large">}</span><br />247</td></tr> +<tr><td class="btr">(243)</td> + <td class="bt">do. ¶ <i>do.</i> books</td></tr> +<tr><td class="btrbold" align="right">240<br />248</td> + <td class="btr">(244) do. <i>Cheetham and Co.</i> c<br />derstand the 6/8—what is £6</td> + <td class="bt">an un-<br />for?</td></tr> +<tr><td class="btr">(245)<br />matis</td> + <td class="bt">Ap. 17. ¶ <i>Morton, P.</i> ‘Dra-<br />Personæ’, as asked for. [retd</td> + <td class="btlbold">238<br />249</td></tr> +<tr><td class="btrbold" align="right">221<br />250</td> + <td class="btr">(246) do. <i>Wilkins and Co.</i> w<br />bill, 175/10/6, and ch. for do.</td> + <td class="bt">ith<br /><span style="margin-left: 1em;">[en</span></td></tr> +<tr><td class="brbold" valign="top">243</td> + <td class="btr">(247) do. <i>Page and Co.</i> bill,<br />postal <span style="font-size: 0.8em;"><strong><sup>J</sup></strong></span>⁄<span style="font-size: 0.6em;"><strong>Σ</strong></span>107258 for 15/- and</td> + <td class="bt">15/6,<br />6 stps.</td></tr> +<tr><td class="btr">(248)<br />was a</td> + <td class="bt">Ap. 18. <i>Cheetham and Co.</i> it<br />‘clerical error’ (!)</td> + <td class="btlbold" valign="top">244</td></tr> +<tr><td class="btrbold" valign="top">245</td> + <td class="btr">(249) Ap. 19. <i>Morton, P.</i> retu<br />Browning with many thanks.</td> + <td class="bt">rng</td></tr> +<tr><td class="btr">(250)<br />bill.</td> + <td class="bt" valign="top">do. <i>Wilkins and Co.</i> receptd</td> + <td class="btlbold" valign="top">246</td></tr> +<tr><td class="btr"> </td> + <td class="btr"> </td> + <td class="bt"> </td></tr></table> + +<p> </p> +<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span>I begin each page by putting, at the top left-hand corner, the next +entry-number I am going to use, <i>in full</i> (the last 3 digits of each +entry-number are enough afterwards); and I put the date of the year, at +the top, in the centre.</p> + +<p>I begin each entry with the last 3 digits of the entry-number, enclosed in +an oval (this is difficult to reproduce in print, so I have put +round-parentheses here). Then, for the <i>first</i> entry in each page, I put +the day of the month and the day of the week: afterwards, ‘do.’ is enough +for the month-day, till it changes: I do not repeat the week-day.</p> + +<p>Next, if the entry is <i>not</i> a letter, I put a symbol for ‘parcel’ (see +Nos. 243, 245) or ‘telegram’ (see Nos. 230, 231) as the case may be.</p> + +<p>Next, the name of the person, underlined (indicated here by italics).</p> + +<p>If an entry needs special further attention,<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> +I put [<span class="spacer"> </span> at the end: and, when it has been attended to, I fill in the appropriate symbol, e.g. +in No. 218, it showed that the bill had to be <i>paid</i>; in No. 222, that an +answer was really <i>needed</i> (the ‘×’ means ‘attended to’); in No. 234, that +I owed the old lady a visit; in No. 235, that the item had to be entered +in my account book; in No. 236, that I must not forget to write; in No. +239, that the address had to be entered in my address-book; in No. 245, +that the book had to be returned.</p> + +<p>I give each entry the space of 2 lines, whether it fills them or not, in +order to have room for references. And, at the foot of each page I leave 2 +or 3 lines <i>blank</i> (often useful afterwards for entering omitted Letters) +and miss one or 2 numbers before I begin the next page.</p> + +<p>At any odd moments of leisure, I ‘make up’ the entry-book, in various +ways, as follows:—</p> + +<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>(1) I draw a <i>second</i> line, at the right-hand end of the ‘received’ +entries, and at the left-hand end of the ‘sent’ entries. This I usually do +pretty well ‘up to date’. In my Register the first line is <i>red</i>, the +second <i>blue</i>: here I distinguish them by making the first thin, and the +second <i>thick</i>.</p> + +<p>(2) Beginning with the last entry, and going backwards, I read over the +names till I recognise one as having occurred already: I then link the two +entries together, by giving the one, that comes first in chronological +order, a ‘foot-reference’ (see Nos. 217, 225). I do not keep this +‘up-to-date’, but leave it till there are 4 or 5 pages to be done. I work +back till I come among entries that are all supplied with +‘foot-references’, when I once more glance through the last few pages, to +see if there are any entries not yet supplied with head-references: +<i>their</i> <span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>predecessors may need a special search. If an entry is connected, +in subject, with another under a different name, I link them by +cross-references, distinguished from the head- and foot-references by +being written <i>further from the marginal line</i> (see No. 229). When 2 +consecutive entries have the same name, and are both of the same kind +(i.e. both ‘received’ or both ‘sent’) I bracket them (see Nos. 242, 243); +if of different kinds, I link them with the symbol used for Nos. 219, 220.</p> + +<p>(3) Beginning at the earliest entry not yet done with, and going forwards, +I cross out every entry that has got a head- and foot-reference, and is +done with, by continuing the extra line <i>through</i> it (see Nos. 221, 223, +225). Thus, wherever a <i>break</i> occurs in this extra line, it shows there +is some matter still needing attention. I do not keep this anything like +‘up to date’, but leave it till there<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> are 30 or 40 pages to look through +at a time. When the first page in the volume is thus completely crossed +out, I put a mark at the foot of the page to indicate this; and so with +pages 2, 3, &c. Hence, whenever I do this part of the ‘making up’, I need +not begin at the beginning of the volume, but only at the <i>earliest page +that has not got this mark</i>.</p> + +<p>All this looks very complicated, when stated at full length: but you will +find it perfectly simple, when you have had a little practice, and will +come to regard the ‘making-up’ as a pleasant occupation for a rainy day, +or at any time that you feel disinclined for more severe mental work. In +the Game of Whist, Hoyle gives us one golden Rule, “When in doubt, win the +trick”—I find that Rule admirable for real life: when in doubt what to +do, I ‘make-up’ my Letter-Register!</p> + +<p> </p> +<p class="center">THE END.</p> + + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> +<div class="verts"> + +<p class="center"><span class="huge"><strong>Works by Lewis Carroll.</strong></span></p> +<p class="center"><small>PUBLISHED BY</small></p> +<p class="center"><span class="large">MACMILLAN & CO., Ltd., LONDON.</span></p> + +<p class="hang"><b>Alice’s Adventures in Wonderland.</b> With Forty-two Illustrations by <span class="smcap">Tenniel</span>. +(First published in 1865.) Crown 8vo, cloth, gilt edges, price 6<i>s.</i> net. +Ninetieth Thousand.</p> + +<p class="hang"><b>The same; People’s Edition.</b> (First published in 1887.) Crown 8vo, cloth, +price 2<i>s.</i> 6<i>d.</i> net. One hundred and forty-third Thousand.</p> + +<p class="hang"><b>The same; Illustrated Pocket Classics for the Young.</b> Fcap. 8vo, cloth, +with full gilt back and gilt top, 2<i>s.</i> net. Limp leather, with full gilt +back and gilt edges, 3<i>s.</i> net.</p> + +<p class="hang"><b>The same.</b> 8vo, sewed, 6<i>d.</i>; cloth, 1<i>s.</i></p> + +<p class="hang"><b>The same; Miniature Edition.</b> Pott 8vo, 1<i>s.</i> net.</p> + +<p class="hang"><b>The same; Little Folks’ Edition.</b> Square 16mo. With Coloured Illustrations. +1<i>s.</i> net.</p> + +<p class="hang"><b>Aventures d’Alice au pays des Merveilles.</b> Traduit de l’Anglais par <span class="smcap">Henry +Bue</span>. Ouvrage illustré de 42 Vignettes par <span class="smcap">John Tenniel</span>. (First published +in 1869.) Crown 8vo, cloth, gilt edges, price 6<i>s.</i> net. Second Thousand.</p> + +<p class="hang"><b>Le Avventure d’Alice nel paese delle Meraviglie.</b> Tradotte dall’ Inglese da +<span class="smcap">T. Pietrocola-Rossetti</span>. Con 42 Vignette di <span class="smcap">Giovanni Tenniel</span>. (First +published in 1872.) Crown 8vo, cloth, gilt edges, price 6<i>s.</i> net.</p> + +<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span></p> + +<p class="hang"><b>Alice’s Adventures Under Ground.</b> Being a Facsimile of the original MS. +Book, which was afterwards developed into “Alice’s Adventures in +Wonderland.” With Thirty-seven Illustrations by the Author. (Begun, July, +1862; finished, Feb., 1863; first published, in facsimile, in 1886.) Crown +8vo, cloth, gilt edges, price 4<i>s.</i> net. Fourth Thousand.</p> + +<p class="hang"><b>Through the Looking-Glass; and what Alice found there.</b> With Fifty +Illustrations by <span class="smcap">Tenniel</span>. (First published in 1871.) Crown 8vo, cloth, +gilt edges, price 6<i>s.</i> net. Sixty-third Thousand.</p> + +<p class="hang"><b>The same; People’s Edition.</b> (First published in 1887.) Crown 8vo, cloth, +price 2<i>s.</i> 6<i>d.</i> net. Eighty-fourth Thousand.</p> + +<p class="hang"><b>The same; Illustrated Pocket Classics for the Young.</b> Fcap. 8vo, cloth, +with full gilt back and gilt top, 2<i>s.</i> net. Limp leather, with full gilt +back and gilt edges, 3<i>s.</i> net.</p> + +<p class="hang"><b>The same.</b> 8vo, sewed, 6<i>d.</i>; cloth 1<i>s.</i></p> + +<p class="hang"><b>The same; Little Folks’ Edition.</b> Square 16mo. With Coloured Illustrations. +1<i>s.</i> 6<i>d.</i> net.</p> + +<p class="hang"><b>Alice’s Adventures in Wonderland; and Through the Looking-Glass; People’s +Editions.</b> Both Books together in One Volume. (First published in 1887.) +Crown 8vo, cloth, price 4<i>s.</i> 6<i>d.</i> net.</p> + +<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> +<p class="hang"><b>The Hunting of the Snark.</b> An Agony in Eight Fits. With Nine Illustrations, +and two large gilt designs on cover, by <span class="smcap">Henry Holiday</span>. (First published in +1876.) Crown 8vo, cloth, gilt edges, price 4<i>s.</i> 6<i>d.</i> net. Twenty-third +Thousand.</p> + +<p class="hang"><b>Rhyme? and Reason?</b> With Sixty-five Illustrations by <span class="smcap">Arthur B. Frost</span>, and +Nine by <span class="smcap">Henry Holiday</span>. (First published in 1883, being a reprint, with a +few additions, of the comic portions of “Phantasmagoria, and other Poems,” +published in 1869, and of “The Hunting of the Snark,” published in 1876.) +Crown 8vo, cloth, gilt edges, price 6<i>s.</i> net. Eighth Thousand.</p> + +<p class="hang"><b>Sylvie and Bruno concluded.</b> With Forty-six Illustrations by <span class="smcap">Harry Furniss</span>. +(First published in 1893.) Fifth Thousand. Crown 8vo, cloth, gilt edges, +price 7<i>s.</i> 6<i>d.</i> net. People’s Edition, 2<i>s.</i> 6<i>d.</i> net. N.B.—This book +contains 411 pages.</p> + +<p class="hang"><b>The Story of Sylvie and Bruno</b>, In One Volume. With Illustrations by <span class="smcap">Harry +Furniss</span>. Crown 8vo, 3<i>s.</i> 6<i>d.</i> net.</p> + +<p class="hang"><b>Three Sunsets, and other Poems.</b> With Twelve Illustrations by <span class="smcap">E. Gertrude +Thomson</span>. Fcap. 4to, cloth, gilt edges, price 4<i>s.</i> net.</p> + +<p>N.B.—This is a reprint, with a few additions, of the serious portion of +“Phantasmagoria, and other Poems,” published in 1869.</p> + + +<p> </p><p> </p> +<p><span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span></p> +<p class="center"><span class="huge"><strong>Works by Lewis Carroll.</strong></span></p> +<p class="center"><small>PUBLISHED BY</small><br /> +<span class="large">CHATTO & WINDUS,<br /> +111 <span class="smcap">St.</span> MARTIN’S LANE, LONDON, W.C.</span></p> + +<p class="center">Price 1<i>s.</i> net, boards; 2<i>s.</i> net, bound in leather.<br /> +<span class="large"><strong>FEEDING THE MIND.</strong></span><br /> +A lecture delivered in 1884.<br /> +With Preface by <span class="smcap">William H. Draper</span>.</p> + +<p class="center">ALWAYS IN STOCK AT<br /> +EMBERLIN & SON, OXFORD.<br /> +<span class="smcap">Postage One Penny.</span></p> + +<p> </p> +<hr style="width: 25%;" /> +<p class="center"><strong>ADVICE TO WRITERS.</strong></p> + +<p>Buy “THE WONDERLAND CASE FOR POSTAGE-STAMPS,” invented by <span class="smcap">Lewis Carroll</span>, +October 29, 1888, size 4 inches by 3, containing 12 separate pockets for +stamps of different values, 2 Coloured Pictorial Surprises taken from +<i>Alice in Wonderland</i>, and 8 or 9 Wise Words about Letter-Writing. It is +published by Messrs. <span class="smcap">Emberlin & Son</span>, 4 Magdalen Street, Oxford. Price +1<i>s.</i></p> + +<p>N.B.—If ordered by Post, an additional payment will be required, to cover +cost of postage, as follows:—</p> + +<p>One, two, three, or four copies, 1<i>d.</i> Five to fourteen do., 3<i>d.</i> Each +subsequent fourteen or fraction thereof, 1<i>d.</i></p></div> + + +<p> </p><p> </p> +<hr style="width: 50%;" /> +<p> </p><p> </p> + +<div class="figcenter"><img src="images/img01.jpg" alt="The Wonderland Postage-Stamp Case" /></div> +<p> </p><p> </p> +<div class="figcenter"><img src="images/img02.jpg" alt="PUBLISHED BY EMBERLIN AND SON, 4, MAGDALEN STREET, OXFORD. (POST FREE, 13d.) PRICE ONE SHILLING" /></div> +<p> </p><p> </p> +<div class="figcenter"><img src="images/img03.jpg" alt="" /></div> +<p> </p><p> </p> +<div class="figcenter"><img src="images/img04.jpg" alt="" /></div> +<p> </p><p> </p> +<div class="figcenter"><img src="images/img05.jpg" alt="" /></div> +<p> </p><p> </p> +<div class="figcenter"><img src="images/img06.jpg" alt="Invented by Lewis Carroll MDCCCLXXXIX" /></div> + + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Eight or Nine Wise Words about +Letter-Writing, by Lewis Carroll + +*** END OF THIS PROJECT GUTENBERG EBOOK WISE WORDS ABOUT LETTER-WRITING *** + +***** This file should be named 38065-h.htm or 38065-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/0/6/38065/ + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +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 1.F.3. 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. + + +</pre> + +</body> +</html> diff --git a/38065-h/images/img01.jpg b/38065-h/images/img01.jpg Binary files differnew file mode 100644 index 0000000..9facbaa --- /dev/null +++ b/38065-h/images/img01.jpg diff --git a/38065-h/images/img02.jpg b/38065-h/images/img02.jpg Binary files differnew file mode 100644 index 0000000..fbe0f7f --- /dev/null +++ b/38065-h/images/img02.jpg diff --git a/38065-h/images/img03.jpg b/38065-h/images/img03.jpg Binary files differnew file mode 100644 index 0000000..3ad0ec6 --- /dev/null +++ b/38065-h/images/img03.jpg diff --git a/38065-h/images/img04.jpg b/38065-h/images/img04.jpg Binary files differnew file mode 100644 index 0000000..8e00491 --- /dev/null +++ b/38065-h/images/img04.jpg diff --git a/38065-h/images/img05.jpg b/38065-h/images/img05.jpg Binary files differnew file mode 100644 index 0000000..7388dd4 --- /dev/null +++ b/38065-h/images/img05.jpg diff --git a/38065-h/images/img06.jpg b/38065-h/images/img06.jpg Binary files differnew file mode 100644 index 0000000..c7f8d47 --- /dev/null +++ b/38065-h/images/img06.jpg diff --git a/38065.txt b/38065.txt new file mode 100644 index 0000000..7a1a164 --- /dev/null +++ b/38065.txt @@ -0,0 +1,1125 @@ +The Project Gutenberg EBook of Eight or Nine Wise Words about +Letter-Writing, by Lewis Carroll + +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: Eight or Nine Wise Words about Letter-Writing + +Author: Lewis Carroll + +Release Date: November 20, 2011 [EBook #38065] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK WISE WORDS ABOUT LETTER-WRITING *** + + + + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + + + + + + + + + EIGHT OR NINE + WISE WORDS + ABOUT + Letter-Writing + + + BY + _LEWIS CARROLL_ + + + EMBERLIN AND SON + 4, MAGDALEN STREET + OXFORD + + + + + FIRST PUBLISHED + 1890. + + + + +Contents. + + + PAGE. + + _On Stamp-Cases_ 5 + + _How to begin a Letter_ 9 + + _How to go on with a Letter_ 12 + + _How to end a Letter_ 21 + + _On registering Correspondence_ 23 + + + + +Sec. 1. _On Stamp-Cases._ + + +Some American writer has said "the snakes in this district may be divided +into one species--the venomous." The same principle applies here. +Postage-Stamp-Cases may be divided into one species, the "Wonderland." +Imitations of it will soon appear, no doubt: but they cannot include the +two Pictorial Surprises, which are copyright. + +You don't see why I call them 'Surprises'? Well, take the Case in your +left-hand, and regard it attentively. You see Alice nursing the Duchess's +Baby? (An entirely new combination, by the way: it doesn't occur in the +book.) Now, with your right thumb and forefinger, lay hold of the little +book, and suddenly pull it out. _The Baby has turned into a Pig!_ If +_that_ doesn't surprise you, why, I suppose you wouldn't be surprised if +your own Mother-in-law suddenly turned into a Gyroscope! + +This Case is _not_ intended to carry about in your pocket. Far from it. +People seldom want any other Stamps, on an emergency, than Penny-Stamps +for Letters, Sixpenny-Stamps for Telegrams, and a bit of Stamp-edging for +cut fingers (it makes capital sticking-plaster, and will stand three or +four washings, cautiously conducted): and all these are easily carried in +a purse or pocketbook. No, _this_ is meant to haunt your envelope-case, or +wherever you keep your writing-materials. What made me invent it was the +constantly wanting Stamps of other values, for foreign Letters, Parcel +Post, &c., and finding it very bothersome to get at the kind I wanted in +a hurry. Since I have possessed a "Wonderland Stamp Case", Life has been +bright and peaceful, and I have used no other. I believe the Queen's +laundress uses no other. + +Each of the pockets will hold 6 stamps, comfortably. I would recommend you +to arrange the 6, before putting them in, something like a _bouquet_, +making them lean to the right and to the left alternately: thus there will +always be a free _corner_ to get hold of, so as to take them out, quickly +and easily, one by one: otherwise you will find them apt to come out two +or three at a time. + +According to _my_ experience, the 5_d._, 9_d._, and 1_s._ Stamps are +hardly ever wanted, though I have constantly to replenish all the other +pockets. If your experience agrees with mine, you may find it convenient +to keep only a couple (say) of each of these 3 kinds, in the 1_s._ +pocket, and to fill the other 2 pockets with extra 1_d._ stamps. + + + + +Sec. 2. _How to begin a Letter._ + + +If the Letter is to be in answer to another, begin by getting out that +other letter and reading it through, in order to refresh your memory, as +to what it is you have to answer, and as to your correspondent's _present +address_ (otherwise you will be sending your letter to his regular address +in _London_, though he has been careful in writing to give you his +_Torquay_ address in full). + +Next, Address and Stamp the Envelope. "What! Before writing the _Letter_?" +Most certainly. And I'll tell you what will happen if you don't. You will +go on writing till the last moment, and just in the middle of the last +sentence, you will become aware that 'time's up!' Then comes the hurried +wind-up--the wildly-scrawled signature--the hastily-fastened envelope, +which comes open in the post--the address, a mere hieroglyphic--the +horrible discovery that you've forgotten to replenish your Stamp-Case--the +frantic appeal, to every one in the house, to lend you a Stamp--the +headlong rush to the Post Office, arriving, hot and gasping, just after +the box has closed--and finally, a week afterwards, the return of the +Letter, from the Dead-Letter Office, marked "address illegible"! + +Next, put your own address, _in full_, at the top of the note-sheet. It is +an aggravating thing----I speak from bitter experience----when a friend, +staying at some new address, heads his letter "Dover," simply, assuming +that you can get the rest of the address from his previous letter, which +perhaps you have destroyed. + +Next, put the date _in full_. It is another aggravating thing, when you +wish, years afterwards, to arrange a series of letters, to find them dated +"Feb. 17", "Aug. 2", without any year to guide you as to which comes +first. And never, never, dear Madam (N.B. this remark is addressed to +ladies _only_: no _man_ would ever do such a thing), put "Wednesday", +simply, as the date! + +"_That way madness lies._" + + + + +Sec. 3. _How to go on with a Letter._ + + +Here is a golden Rule to begin with. _Write legibly._ The average temper +of the human race would be perceptibly sweetened, if everybody obeyed this +Rule! A great deal of the bad writing in the world comes simply from +writing _too quickly_. Of course you reply, "I do it to save _time_". A +very good object, no doubt: but what right have you to do it at your +friend's expense? Isn't _his_ time as valuable as yours? Years ago, I used +to receive letters from a friend----and very interesting letters +too----written in one of the most atrocious hands ever invented. It +generally took me about a _week_ to read one of his letters! I used to +carry it about in my pocket, and take it out at leisure times, to puzzle +over the riddles which composed it----holding it in different positions, +and at different distances, till at last the meaning of some hopeless +scrawl would flash upon me, when I at once wrote down the English under +it; and, when several had been thus guessed, the context would help one +with the others, till at last the whole series of hieroglyphics was +deciphered. If _all_ one's friends wrote like that, Life would be entirely +spent in reading their letters! + +This Rule applies, specially, to names of people or places----and _most_ +specially to _foreign names_. I got a letter once, containing some Russian +names, written in the same hasty scramble in which people often write +"yours sincerely". The _context_, of course, didn't help in the least: and +one spelling was just as likely as another, so far as _I_ knew: it was +necessary to write and tell my friend that I couldn't read any of them! + +My second Rule is, don't fill _more_ than a page and a half with apologies +for not having written sooner! + +The best subject, to _begin_ with, is your friend's last letter. Write +with the letter open before you. Answer his questions, and make any +remarks his letter suggests. _Then_ go on to what you want to say +yourself. This arrangement is more courteous, and pleasanter for the +reader, than to fill the letter with your own invaluable remarks, and then +hastily answer your friend's questions in a postscript. Your friend is +much more likely to enjoy your wit, _after_ his own anxiety for +information has been satisfied. + +In referring to anything your friend has said in his letter, it is best to +_quote the exact words_, and not to give a summary of them in _your_ +words. _A's_ impression, of what _B_ has said, expressed in _A's_ words, +will never convey to _B_ the meaning of his own words. + +This is specially necessary when some point has arisen as to which the two +correspondents do not quite agree. There ought to be no opening for such +writing as "You are quite mistaken in thinking I said so-and-so. It was +not in the least my meaning, &c., &c.", which tends to make a +correspondence last for a lifetime. + +A few more Rules may fitly be given here, for correspondence that has +unfortunately become _controversial_. + +One is, _don't repeat yourself_. When once you have said your say, fully +and clearly, on a certain point, and have failed to convince your friend, +_drop that subject_: to repeat your arguments, all over again, will simply +lead to his doing the same; and so you will go on, like a Circulating +Decimal. _Did you ever know a Circulating Decimal come to an end?_ + +Another Rule is, when you have written a letter that you feel may possibly +irritate your friend, however necessary you may have felt it to so express +yourself, _put it aside till the next day_. Then read it over again, and +fancy it addressed to yourself. This will often lead to your writing it +all over again, taking out a lot of the vinegar and pepper, and putting in +honey instead, and thus making a _much_ more palatable dish of it! If, +when you have done your best to write inoffensively, you still feel that +it will probably lead to further controversy, _keep a copy of it_. There +is very little use, months afterwards, in pleading "I am almost sure I +never expressed myself as you say: to the best of my recollection I said +so-and-so". _Far_ better to be able to write "I did _not_ express myself +so: these are the words I used." + +My fifth Rule is, if your friend makes a severe remark, either leave it +unnoticed, or make your reply distinctly _less_ severe: and if he makes a +friendly remark, tending towards 'making up' the little difference that +has arisen between you, let your reply be distinctly _more_ friendly. If, +in picking a quarrel, each party declined to go more than _three-eighths_ +of the way, and if, in making friends, each was ready to go _five-eighths_ +of the way--why, there would be more reconciliations than quarrels! Which +is like the Irishman's remonstrance to his gad-about daughter--"Shure, +you're _always_ goin' out! You go out _three_ times, for _wanst_ that you +come in!" + +My sixth Rule (and my last remark about controversial correspondence) is, +_don't try to have the last word_! How many a controversy would be nipped +in the bud, if each was anxious to let the _other_ have the last word! +Never mind how telling a rejoinder you leave unuttered: never mind your +friend's supposing that you are silent from lack of anything to say: let +the thing drop, as soon as it is possible without discourtesy: remember +'speech is silvern, but silence is golden'! (N.B.--If you are a gentleman, +and your friend a lady, this Rule is superfluous: _you won't get the last +word_!) + +My seventh Rule is, if it should ever occur to you to write, jestingly, in +_dispraise_ of your friend, be sure you exaggerate enough to make the +jesting _obvious_: a word spoken in _jest_, but taken as _earnest_, may +lead to very serious consequences. I have known it to lead to the +breaking-off of a friendship. Suppose, for instance, you wish to remind +your friend of a sovereign you have lent him, which he has forgotten to +repay--you might quite _mean_ the words "I mention it, as you seem to have +a conveniently bad memory for debts", in jest: yet there would be nothing +to wonder at if he took offence at that way of putting it. But, suppose +you wrote "Long observation of your career, as a pickpocket and a burglar, +has convinced me that my one lingering hope, for recovering that sovereign +I lent you, is to say 'Pay up, or I'll summons yer!'" he would indeed be a +matter-of-fact friend if he took _that_ as seriously meant! + +My eighth Rule. When you say, in your letter, "I enclose cheque for L5", +or "I enclose John's letter for you to see", leave off writing for a +moment--go and get the document referred to--and _put it into the +envelope_. Otherwise, you are pretty certain to find it lying about, +_after the Post has gone_! + +My ninth Rule. When you get to the end of a note-sheet, and find you have +more to say, take another piece of paper--a whole sheet, or a scrap, as +the case may demand: but, whatever you do, _don't cross_! Remember the old +proverb '_Cross-writing makes cross reading_'. "The _old_ proverb?" you +say, enquiringly. "_How_ old?" Well, not so _very_ ancient, I must +confess. In fact, I'm afraid I invented it while writing this paragraph! +Still, you know, 'old' is a _comparative_ term. I think you would be +_quite_ justified in addressing a chicken, just out of the shell, as "Old +boy!", _when compared_ with another chicken, that was only half-out! + + + + +Sec. 4. _How to end a Letter._ + + +If doubtful whether to end with 'yours faithfully', or 'yours truly', or +'yours most truly', &c. (there are at least a dozen varieties, before you +reach 'yours affectionately'), refer to your correspondent's last letter, +and make your winding-up _at least as friendly as his_; in fact, even if a +shade _more_ friendly, it will do no harm! + +A Postscript is a very useful invention: but it is _not_ meant (as so many +ladies suppose) to contain the real _gist_ of the letter: it serves rather +to throw into the shade any little matter we do _not_ wish to make a fuss +about. For example, your friend had promised to execute a commission for +you in town, but forgot it, thereby putting you to great inconvenience: +and he now writes to apologize for his negligence. It would be cruel, and +needlessly crushing, to make it the main subject of your reply. How much +more gracefully it comes in thus! "P.S. Don't distress yourself any more +about having omitted that little matter in town. I won't deny that it +_did_ put my plans out a little, at the time: but it's all right now. I +often forget things, myself: and 'those who live in glass-houses, mustn't +throw stones', you know!" + +When you take your letters to the Post, _carry them in your hand_. If you +put them in your pocket you will take a long country-walk (I speak from +experience), passing the Post-Office _twice_, going and returning, and, +when you get home, will find them _still_ in your pocket. + + + + +Sec. 5. _On registering Correspondence._ + + +Let me recommend you to keep a record of Letters Received and Sent. I have +kept one for many years, and have found it of the greatest possible +service, in many ways: it secures my _answering_ Letters, however long +they have to wait; it enables me to refer, for my own guidance, to the +details of previous correspondence, though the actual Letters may have +been destroyed long ago; and, most valuable feature of all, if any +difficulty arises, years afterwards, in connection with a half-forgotten +correspondence, it enables me to say, with confidence, "I did _not_ tell +you that he was 'an _invaluable_ servant in _every_ way', and that you +_couldn't_ 'trust him too much'. I have a _precis_ of my letter. What I +said was 'he is a _valuable_ servant in _many_ ways, but _don't_ trust him +too much'. So, if he's cheated you, you really must not hold _me_ +responsible for it!" + +I will now give you a few simple Rules for making, and keeping, a +Letter-Register. + +Get a blank book, containing (say) 200 leaves, about 4 inches wide and 7 +high. It should be _well_ fastened into its cover, as it will have to be +opened and shut hundreds of times. Have a line ruled, in red ink, down +each margin of every page, an inch off the edge (the margin should be wide +enough to contain a number of 5 digits, easily: _I_ manage with a 3/4 inch +margin: but, unless you write very small you will find an inch more +comfortable). + +Write a _precis_ of each Letter, received or sent, in chronological +order. Let the entry of a 'received' Letter reach from the left-hand edge +to the right-hand marginal line; and the entry of a 'sent' Letter from the +left-hand marginal line to the right-hand edge. Thus the two kinds will be +quite distinct, and you can easily hunt through the 'received' Letters by +themselves, without being bothered with the 'sent' Letters; and _vice +versa_. + +Use the _right-hand_ pages only: and, when you come to the end of the +book, turn it upside-down, and begin at the other end, still using +right-hand pages. You will find this much more comfortable than using +left-hand pages. + +You will find it convenient to write, at the top of every sheet of a +'received' Letter, its Register-Number in full. + +I will now give a few (ideal) specimen pages of my Letter-Register, and +make a few remarks on them: after which I think you will find it easy +enough to manage one for yourself. + + 29217| /90. || + -------+ || + (217) |Ap. 1 (Tu.) _Jones, Mrs._ am ||27518 + sendg, |as present from self and Mr. || + J., a |white elephant. ||225 + -------+----------------------------------|| + (218) |do. _Wilkins & Co._ bill, for||28743 + grand |piano, L175 10_s._ 6_d._ [pd||221, 2 + -------+----------------------------------|| + (219) |do. _Scareham, H._ [writes from|| + 'Grand | Hotel, Monte Carlo'] asking || + to borr|ow L50 for a few weeks (!) ||[symbol] + -------+----------------------------------+-------- + [symbol]||(220) do. _Scareham, H._ would| like to + ||know _object_, for wh loan is | asked, + ||and _security_ offered. | + ||----------------------------------+-------- + 218||(221) Ap. 3. _Wilkins & Co._ ||in pre- + ||vious letter, now before me, || you + ||undertook to supply one for ||L120: + 246||decling to pay more. || + ||----------------------------------+-------- + 23514||(222) do. _Cheetham & Sharp._ | have + 218 ||written 221--enclosing previo|us let- + 228||ter--is law on my side? | [ + ------++----------------------------------++------- + (223) ||Ap. 4. _Manager, Goods Statn_,|| + _G. N.||R._ White Elephant arrived, ad- || + dresse||d to you--send for it at once-- || + 'very ||savage'. ||226 + -------+----------------------------------+-------- + | | + | | + + + 29225 | /90. | + ------++ | + 217||(225) Ap. 4. (F) _Jones, Mrs._ th||anks, + ||but no room for it at present, am||send- + 230||ing it to Zoological Gardens. || + ||----------------------------------++------- + 223||(226) do. _Manager, Goods Sta||tn, G._ + ||_N. R._ please deliver, to bearer||of this + ||note, case containg White Ele-||phant + ||addressed to me. || + ||----------------------------------+-------- + ||(227) do. _Director Zool. Garde |ns._ (en- + 223 ||closing above note to R. W. Ma|nager) + ||call for valuable animal, prese|nted to + 229||Gardens. | + -------+----------------------------------+-------- + (228) |Ap. 8. _Cheetham & Sharp._ you||222 + misquo|te enclosed letter, limit named || + is L18|0. ||237 + -------+----------------------------------||------- + (229) |Ap. 9. _Director, Zoo. Gardens._||227 + case de|livered to us contained 1 doz.|| 230 + Port--|consumed at Directors' Ban-|| + quet--|many thanks. || + -------+----------------------------------+-------- + 225||(230) do. T _Jones, Mrs._ why | call a + [symbol]||doz. of Port a 'White Elephant'? | + -------+----------------------------------+-------- + (231) |do. T _Jones, Mrs._ 'it was a ||[symbol] + joke'. | || + -------+----------------------------------+-------- + | | + | | + + + 29233 | /90. | + -------+ | + ||(233) Ap. 10. (Th) _Page & Co._|orderg + ||Macaulay's Essays and "Jane |Eyre" + 242||(cheap edtn). | + -------+----------------------------------+-------- + (234) |do. _Aunt Jemima_--invitg for || + 2 or 3 |days after the 15th. [ || 236 + -------+----------------------------------|| + (235) |do. _Lon. and West. Bk._ have || + recevd |L250, pd to yr Acct fm Parkins || + & Co. |Calcutta [en || + -------+----------------------------------+-------- + 234||(236) do. _Aunt Jemima_--can|not + ||possibly come this month, will|write + 239||when able. | [ + ||----------------------------------+-------- + 228||(237) Ap. 11. _Cheetham and |Co._ re- + 240||turn letter enclosed to you. | [x + ||----------------------------------+-------- + ||(238) do. _Morton, Philip._ Co|uld you + ||lend me Browning's 'Dramati|s Per- + 245||sonae' for a day or 2? | + -------+----------------------------------+-------- + (239) |Ap. 14. _Aunt Jemima_, leav- ||236 + ing ho|use at end of month : address || + '136, |Royal Avenue, Bath.' [ || + -------+----------------------------------|| + (240) |Ap. 15. _Cheetham and Co._, ||237 + returng|letter as reqd, bill 6/6/8. [ ||244 + -------+----------------------------------+-------- + | | + | | + + + 29242 | /90. | + -------+ | + (242) |Ap. 15. (Tu) _Page & Co._ bill ||} 233 + for boo|ks, as ordered, 15/6 [ ||} + -------+----------------------------------||} + (243) |do. [pilcrow _do._ books ||} 247 + -------+----------------------------------+-------- + 240||(244) do. _Cheetham and Co._ c|an un- + 248||derstand the 6/8--what is L6|for? + -------+----------------------------------+-------- + (245) |Ap. 17. [pilcrow] _Morton, P._ 'Dra- ||238 + matis |Personae', as asked for. [retd ||249 + -------+----------------------------------+-------- + 221||(246) do. _Wilkins and Co._ w|ith + 250||bill, 175/10/6, and ch. for do.| [en + ||----------------------------------+-------- + 243||(247) do. _Page and Co._ bill,| 15/6, + ||postal [symbol]107258 for 15/- and|6 stps. + -------+----------------------------------+-------- + (248) |Ap. 18. _Cheetham and Co._ it ||244 + was a |'clerical error' (!) || + -------+----------------------------------+-------- + 245||(249) Ap. 19. _Morton, P._ retu|rng + ||Browning with many thanks. | + -------+----------------------------------+-------- + (250) |do. _Wilkins and Co._ receptd ||246 + bill. | || + -------+----------------------------------+-------- + | | + | | + +I begin each page by putting, at the top left-hand corner, the next +entry-number I am going to use, _in full_ (the last 3 digits of each +entry-number are enough afterwards); and I put the date of the year, at +the top, in the centre. + +I begin each entry with the last 3 digits of the entry-number, enclosed in +an oval (this is difficult to reproduce in print, so I have put +round-parentheses here). Then, for the _first_ entry in each page, I put +the day of the month and the day of the week: afterwards, 'do.' is enough +for the month-day, till it changes: I do not repeat the week-day. + +Next, if the entry is _not_ a letter, I put a symbol for 'parcel' (see +Nos. 243, 245) or 'telegram' (see Nos. 230, 231) as the case may be. + +Next, the name of the person, underlined (indicated here by italics). + +If an entry needs special further attention, I put [____ at the end: and, +when it has been attended to, I fill in the appropriate symbol, e.g. in +No. 218, it showed that the bill had to be _paid_; in No. 222, that an +answer was really _needed_ (the 'x' means 'attended to'); in No. 234, that +I owed the old lady a visit; in No. 235, that the item had to be entered +in my account book; in No. 236, that I must not forget to write; in No. +239, that the address had to be entered in my address-book; in No. 245, +that the book had to be returned. + +I give each entry the space of 2 lines, whether it fills them or not, in +order to have room for references. And, at the foot of each page I leave 2 +or 3 lines _blank_ (often useful afterwards for entering omitted Letters) +and miss one or 2 numbers before I begin the next page. + +At any odd moments of leisure, I 'make up' the entry-book, in various +ways, as follows:-- + +(1) I draw a _second_ line, at the right-hand end of the 'received' +entries, and at the left-hand end of the 'sent' entries. This I usually do +pretty well 'up to date'. In my Register the first line is _red_, the +second _blue_: here I distinguish them by making the first thin, and the +second _thick_. + +(2) Beginning with the last entry, and going backwards, I read over the +names till I recognise one as having occurred already: I then link the two +entries together, by giving the one, that comes first in chronological +order, a 'foot-reference' (see Nos. 217, 225). I do not keep this +'up-to-date', but leave it till there are 4 or 5 pages to be done. I work +back till I come among entries that are all supplied with +'foot-references', when I once more glance through the last few pages, to +see if there are any entries not yet supplied with head-references: +_their_ predecessors may need a special search. If an entry is connected, +in subject, with another under a different name, I link them by +cross-references, distinguished from the head- and foot-references by +being written _further from the marginal line_ (see No. 229). When 2 +consecutive entries have the same name, and are both of the same kind +(i.e. both 'received' or both 'sent') I bracket them (see Nos. 242, 243); +if of different kinds, I link them with the symbol used for Nos. 219, 220. + +(3) Beginning at the earliest entry not yet done with, and going forwards, +I cross out every entry that has got a head- and foot-reference, and is +done with, by continuing the extra line _through_ it (see Nos. 221, 223, +225). Thus, wherever a _break_ occurs in this extra line, it shows there +is some matter still needing attention. I do not keep this anything like +'up to date', but leave it till there are 30 or 40 pages to look through +at a time. When the first page in the volume is thus completely crossed +out, I put a mark at the foot of the page to indicate this; and so with +pages 2, 3, &c. Hence, whenever I do this part of the 'making up', I need +not begin at the beginning of the volume, but only at the _earliest page +that has not got this mark_. + +All this looks very complicated, when stated at full length: but you will +find it perfectly simple, when you have had a little practice, and will +come to regard the 'making-up' as a pleasant occupation for a rainy day, +or at any time that you feel disinclined for more severe mental work. In +the Game of Whist, Hoyle gives us one golden Rule, "When in doubt, win the +trick"--I find that Rule admirable for real life: when in doubt what to +do, I 'make-up' my Letter-Register! + + +THE END. + + + + +Works by Lewis Carroll. + +PUBLISHED BY + +MACMILLAN & CO., Ltd., LONDON. + + +Alice's Adventures in Wonderland. With Forty-two Illustrations by TENNIEL. +(First published in 1865.) Crown 8vo, cloth, gilt edges, price 6_s._ net. +Ninetieth Thousand. + +The same; People's Edition. (First published in 1887.) Crown 8vo, cloth, +price 2_s._ 6_d._ net. One hundred and forty-third Thousand. + +The same; Illustrated Pocket Classics for the Young. Fcap. 8vo, cloth, +with full gilt back and gilt top, 2_s._ net. Limp leather, with full gilt +back and gilt edges, 3_s._ net. + +The same. 8vo, sewed, 6_d._; cloth, 1_s._ + +The same; Miniature Edition. Pott 8vo, 1_s._ net. + +The same; Little Folks' Edition. Square 16mo. With Coloured Illustrations. +1_s._ net. + +Aventures d'Alice au pays des Merveilles. Traduit de l'Anglais par HENRY +BUE. Ouvrage illustre de 42 Vignettes par JOHN TENNIEL. (First published +in 1869.) Crown 8vo, cloth, gilt edges, price 6_s._ net. Second Thousand. + +Le Avventure d'Alice nel paese delle Meraviglie. Tradotte dall' Inglese da +T. PIETROCOLA-ROSSETTI. Con 42 Vignette di GIOVANNI TENNIEL. (First +published in 1872.) Crown 8vo, cloth, gilt edges, price 6_s._ net. + +Alice's Adventures Under Ground. Being a Facsimile of the original MS. +Book, which was afterwards developed into "Alice's Adventures in +Wonderland." With Thirty-seven Illustrations by the Author. (Begun, July, +1862; finished, Feb., 1863; first published, in facsimile, in 1886.) Crown +8vo, cloth, gilt edges, price 4_s._ net. Fourth Thousand. + +Through the Looking-Glass; and what Alice found there. With Fifty +Illustrations by TENNIEL. (First published in 1871.) Crown 8vo, cloth, +gilt edges, price 6_s._ net. Sixty-third Thousand. + +The same; People's Edition. (First published in 1887.) Crown 8vo, cloth, +price 2_s._ 6_d._ net. Eighty-fourth Thousand. + +The same; Illustrated Pocket Classics for the Young. Fcap. 8vo, cloth, +with full gilt back and gilt top, 2_s._ net. Limp leather, with full gilt +back and gilt edges, 3_s._ net. + +The same. 8vo, sewed, 6_d._; cloth 1_s._ + +The same; Little Folks' Edition. Square 16mo. With Coloured Illustrations. +1_s._ 6_d._ net. + +Alice's Adventures in Wonderland; and Through the Looking-Glass; People's +Editions. Both Books together in One Volume. (First published in 1887.) +Crown 8vo, cloth, price 4_s._ 6_d._ net. + +The Hunting of the Snark. An Agony in Eight Fits. With Nine Illustrations, +and two large gilt designs on cover, by HENRY HOLIDAY. (First published in +1876.) Crown 8vo, cloth, gilt edges, price 4_s._ 6_d._ net. Twenty-third +Thousand. + +Rhyme? and Reason? With Sixty-five Illustrations by ARTHUR B. FROST, and +Nine by HENRY HOLIDAY. (First published in 1883, being a reprint, with a +few additions, of the comic portions of "Phantasmagoria, and other Poems," +published in 1869, and of "The Hunting of the Snark," published in 1876.) +Crown 8vo, cloth, gilt edges, price 6_s._ net. Eighth Thousand. + +Sylvie and Bruno concluded. With Forty-six Illustrations by HARRY FURNISS. +(First published in 1893.) Fifth Thousand. Crown 8vo, cloth, gilt edges, +price 7_s._ 6_d._ net. People's Edition, 2_s._ 6_d._ net. N.B.--This book +contains 411 pages. + +The Story of Sylvie and Bruno, In One Volume. With Illustrations by HARRY +FURNISS. Crown 8vo, 3_s._ 6_d._ net. + +Three Sunsets, and other Poems. With Twelve Illustrations by E. GERTRUDE +THOMSON. Fcap. 4to, cloth, gilt edges, price 4_s._ net. + +N.B.--This is a reprint, with a few additions, of the serious portion of +"Phantasmagoria, and other Poems," published in 1869. + + + + +Works by Lewis Carroll. + +PUBLISHED BY CHATTO & WINDUS, + +111 ST. MARTIN'S LANE, LONDON, W.C. + + +Price 1_s._ net, boards; 2_s._ net, bound in leather. + +FEEDING THE MIND. + +A lecture delivered in 1884. + +With Preface by WILLIAM H. DRAPER. + +ALWAYS IN STOCK AT + +EMBERLIN & SON, OXFORD. + +POSTAGE ONE PENNY. + + +ADVICE TO WRITERS. + +Buy "THE WONDERLAND CASE FOR POSTAGE-STAMPS," invented by LEWIS CARROLL, +October 29, 1888, size 4 inches by 3, containing 12 separate pockets for +stamps of different values, 2 Coloured Pictorial Surprises taken from +_Alice in Wonderland_, and 8 or 9 Wise Words about Letter-Writing. It is +published by Messrs. EMBERLIN & SON, 4 Magdalen Street, Oxford. Price +1_s._ + +N.B.--If ordered by Post, an additional payment will be required, to cover +cost of postage, as follows:-- + +One, two, three, or four copies, 1_d._ Five to fourteen do., 3_d._ Each +subsequent fourteen or fraction thereof, 1_d._ + + + + + The Wonderland + + [Illustration] + + Postage-Stamp Case + + + PUBLISHED BY + EMBERLIN AND SON, + 4, MAGDALEN STREET, + OXFORD. + + [Illustration] + + (POST FREE, 13d.) + PRICE ONE SHILLING + + [Illustration] + + [Illustration] + + [Illustration] + + + Invented by + + [Illustration] + + Lewis Carroll + MDCCCLXXXIX + + + + +Transcriber's Notes: + +Passages in italics are indicated by _italics_. + +The original text includes an intention blank space that is represented in +this text version as ____. + + + + + + +End of the Project Gutenberg EBook of Eight or Nine Wise Words about +Letter-Writing, by Lewis Carroll + +*** END OF THIS PROJECT GUTENBERG EBOOK WISE WORDS ABOUT LETTER-WRITING *** + +***** This file should be named 38065.txt or 38065.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/3/8/0/6/38065/ + +Produced by The Online Distributed Proofreading Team at +https://www.pgdp.net (This file was produced from images +generously made available by The Internet Archive/American +Libraries.) + + +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 1.F.3. 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. diff --git a/38065.zip b/38065.zip Binary files differnew file mode 100644 index 0000000..561fb9d --- /dev/null +++ b/38065.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..6a97327 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #38065 (https://www.gutenberg.org/ebooks/38065) |
