diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-07 17:45:11 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-07 17:45:11 -0800 |
| commit | a800be8375e0ce787ee5f0119b7911e07e34e983 (patch) | |
| tree | 415a0f15f3720298ea34c01517712d07b09c525c | |
| parent | 79de8758dd067b4aed2ba775b211b437e0891a4e (diff) | |
| -rw-r--r-- | 43357-0.txt (renamed from 43357.txt) | 395 | ||||
| -rw-r--r-- | 43357-8.txt | 2597 | ||||
| -rw-r--r-- | 43357-8.zip | bin | 45788 -> 0 bytes | |||
| -rw-r--r-- | 43357-h.zip | bin | 1347792 -> 0 bytes | |||
| -rw-r--r-- | 43357-h/43357-h.htm | 420 | ||||
| -rw-r--r-- | 43357.zip | bin | 45764 -> 0 bytes |
6 files changed, 11 insertions, 3401 deletions
@@ -1,35 +1,4 @@ -Project Gutenberg's Harper's Young People, November 9, 1880, by Various - -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: Harper's Young People, November 9, 1880 - An Illustrated Monthly - -Author: Various - -Release Date: July 30, 2013 [EBook #43357] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE *** - - - - -Produced by Annie R. McGuire - - - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 43357 *** [Illustration: HARPER'S YOUNG PEOPLE @@ -1213,7 +1182,7 @@ tremblingly approaching a man who was pushing round some trunks. "Bless you! you're at the wrong station for that, sissy or bubby, whichever you be," said the man, glancing from the girl's dress to the boy's cap. "But there," added he, as the brown eyes filled with tears, -"a gravel train's just going across the city to the Eastern Depot. Come +"a gravel train's just going across the city to the Eastern Dépôt. Come with me, and I'll take you there." Down the track Elsie rode, perched on a heap of gravel. @@ -1232,7 +1201,7 @@ earnest. She had been called a "tramp" last night; now she was taken for a thief. It was too dreadful. She looked here and there, if perchance there might be some way of escape from all this misery, and suddenly--why!--what?--that boy on the platform of the Eastern -Depot--could it be? +Dépôt--could it be? "Joe! Joe!" shrieked Elsie. @@ -1661,7 +1630,7 @@ There are a great many books of fairy tales which even grown-up children enjoy very much. _The Rose and the Ring_, by Thackeray, is delightful. Miss Johnson's _Catskill Fairies_, relating how they amused a little boy who was blocked in by a snow-storm, is a very fascinating book. Then -there are the fairy-books of Laboulaye and Mace, _Puss-Cat Mew_, _Queer +there are the fairy-books of Laboulaye and Macé, _Puss-Cat Mew_, _Queer Folks_, _Tales at Tea-Time_, and other books by Knatchbull-Hugessen. _Alice in Wonderland_ is also very entertaining; for although it is the most absurd nonsense ever written, we pity the person too old to enjoy @@ -2240,358 +2209,4 @@ NIGHTMARE AFTER A BUSY DAY SETTING RABBIT SNARES.] End of Project Gutenberg's Harper's Young People, November 9, 1880, by Various -*** END OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE *** - -***** This file should be named 43357.txt or 43357.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/3/5/43357/ - -Produced by Annie R. McGuire - -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 - www.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 MERCHANTABILITY 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 information page at www.gutenberg.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. 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 -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.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 forty 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: - - 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. - +*** END OF THE PROJECT GUTENBERG EBOOK 43357 *** diff --git a/43357-8.txt b/43357-8.txt deleted file mode 100644 index ea113bc..0000000 --- a/43357-8.txt +++ /dev/null @@ -1,2597 +0,0 @@ -Project Gutenberg's Harper's Young People, November 9, 1880, by Various - -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: Harper's Young People, November 9, 1880 - An Illustrated Monthly - -Author: Various - -Release Date: July 30, 2013 [EBook #43357] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE *** - - - - -Produced by Annie R. McGuire - - - - - - - - -[Illustration: HARPER'S YOUNG PEOPLE - -AN ILLUSTRATED WEEKLY.] - - * * * * * - -VOL. II.--NO. 54. PUBLISHED BY HARPER & BROTHERS, NEW YORK. PRICE FOUR -CENTS. - -Tuesday, November 9, 1880. Copyright, 1880, by HARPER & BROTHERS. $1.50 -per Year, in Advance. - - * * * * * - - - -[Illustration: A WORK OF ART.--DRAWN BY JESSIE CURTIS.] - - - - -JACK-O'-LANTERN. - -BY MARY E. FOLSOM. - - - Who is this nabob come to town, - After a long vacation? - He seems to have a host of friends, - And makes a great sensation. - He stalks about these frosty nights, - While troops of boys run after - To welcome him with merry jests - And ringing shouts of laughter. - 'Tis Mr. Jack-o'-Lantern. - - He towers above the noisy group - As though he were a grandee, - And struts about upon his stilts - As agile as a dandy. - You might think him an Eastern prince, - Because his skin's so yellow; - But spite of all his airs, he is - A common sort of fellow, - This Mr. Jack-o'-Lantern. - - All summer long upon the ground - He lay forlorn, dejected; - No one in all the country round - Was quite so much neglected. - But see him now! with head aloft, - He shines with regal splendor, - And loyal subjects by the score - Admiring homage render. - How proud is Jack-o'-Lantern! - - Now give three cheers for Jack, my lads-- - Three rousing cheers, and hearty; - For is he not the brightest one - In all your jolly party? - And though his is an empty head, - He can with satisfaction - Amuse a crowd, and make himself - The centre of attraction. - Hurrah for Jack-o'-Lantern! - - - - -[Begun in HARPER'S YOUNG PEOPLE No. 53, November 2.] - -THE BOY-GENERAL. - -BY EDWARD CARY. - -CHAPTER II. - - -It was shortly after his reaching Philadelphia that Lafayette met -Washington for the first time. "Though surrounded by officers and -citizens," writes the young Frenchman, "his majestic face and form could -not be mistaken, while his kind and noble manners were not less -unmistakable." The veteran commander and the boyish lover of liberty and -adventure were instantly drawn to each other. Washington invited -Lafayette to join him at a review of the American army--"eleven thousand -men, only fairly armed, and worse clothed, their best clothing the gray -hunting shirts of the Carolinas." "We can not but feel a little -abashed," remarked Washington, "in the presence of an officer who comes -to us from the army of France." - -"It is to learn, not to teach, that I am here," was the modest reply. -"This way of talking," adds Lafayette, "made a good impression, for it -was not common among the Europeans." - -On the 11th of September, 1777, Lafayette saw his first battle. The -English had landed at the Capes of the Delaware, and marched on -Philadelphia. Washington was deceived by bad scouts, and before he knew -it the British had got past his army; and though the Americans fought -bravely, they were obliged to give way. In trying to rally them, -Lafayette was badly wounded by a musket-ball in the leg. For some time, -in his zeal, he did not notice the wound, until an aide-de-camp saw the -blood, which had filled his boot, and was running over the top. Hastily -dismounting to have the wound bandaged, Lafayette instantly took to his -saddle again; and it was only at midnight, a dozen miles from the -battle-field, and when a stand had at last been made, that he consented -to give up and be properly cared for. For six weeks he was kept in bed; -and it was not until the latter part of November that he again entered -active service, which he did before his wound was fully healed. On the -25th of that month, at the head of three hundred and fifty men, he was -making a "reconnoissance," _i. e._, trying to find where the enemy were, -and how many there were of them, when he suddenly came upon the British -advance guard, strongly placed, with cannon. With a daring joined with -prudence which was very rare in one so young, he attacked the enemy with -such spirit that they thought he must have a large force with him, and -retreated. Lafayette, who knew he might soon be surrounded with his -little band, withdrew rapidly to a place of safety. "My experiment would -have cost me dear," he writes, "if those who might have destroyed me had -not counted too much on those who ought to have captured me." The -British General was Lord Cornwallis, who then took the first of many -lessons which Lafayette, "the boy," as he called him, was to teach him -in the art of war. - -This little fight had quite important results. It gave Washington time -to get his army safely back into the country, and to take up quarters -for the winter at Valley Forge. Congress was greatly pleased, and passed -a vote asking Washington to give Lafayette command of a division, which -was done. Scarcely turned twenty, the young soldier found himself at the -head of a body of picked men, mostly Virginians, whom he tried hard to -make the flower of the army in activity, discipline, and courage. He -shared all the hardships and miseries of the terrible winter at Valley -Forge, where the army underwent untold sufferings. From 18,000 men it -was reduced to 5000. - -The British lay well housed and idle in Philadelphia. There was no -fighting going on, and the country simply forgot and neglected its -gallant soldiers. These were camped in a wooded hollow among the hills, -and during that winter deeper snow than had been seen for many years -buried the country. - -Lafayette writes that "in his night visits about the camp" he found the -sentinels with bare feet frozen at their posts, and men without coats, -often without shirts, huddled on beds of branches about the camp fires, -unable, from hunger and cold, to sleep. For days together one scant meal -a man was all that could be had. In the midst of such suffering the -noble boy lived as his men did, fasting as they fasted, and denying -himself everything. "Ill at ease" as he had been "among the pleasures of -a Paris festival," he was at home on that cold hill-side, and attracted -universal admiration by his simple self-denial, his cheerful and -constant devotion. - -Meanwhile Congress was divided into two quarrelsome parties; and while -it had not time to attend to Washington's earnest prayers for relief for -his starving army, it found plenty of time to plan to put another -General over his head, and to try to carry on the war without him. To -aid in this mad scheme they sought to win Lafayette by offering him a -separate command of an army that was to march into Canada. - -Faithful in his duty to his commander and his friends, Lafayette refused -to take the place unless he could receive all his orders direct from -Washington. This could not be refused, but it cooled the zeal of -Congress, and when Lafayette arrived at Albany, where he was to have -found men and means for the invasion of Canada, he found neither one nor -the other. Seeing that it was too late to wait long for them, he -promptly gave up the plan. He took a long journey northward to try to -make friends with the Indians, whom he managed with great skill, and -then came back to camp with Washington. He was very glad to rejoin his -beloved General, who immediately gave him command of his old division, -and sent him out, as he had done in the fall, to get news of the enemy. - -Clinton, the English commander, learned of the movement, and resolved to -capture the daring "youngster." Lafayette had only 2000 men and no -cannon; Clinton sent out 7000 with fourteen cannon after him. Some -militia placed to guard a road that led around Lafayette's little army -fled when the enemy came up, and before he knew it Lafayette was -surrounded. Clinton, delighted with the prospect, sent an invitation to -his lady friends in Philadelphia to meet Lafayette at supper that -evening, so sure was he of capturing him; and the Admiral of the fleet -was directed to set apart a vessel to take the prisoner to England. But -they were reckoning without their host. Lafayette never lost his cool -head for a moment. Arranging his men in the woods so as to make them -seem many more than they were, he marched with such order that the -English were deceived, and feared to attack him, and while they -hesitated he got his men out of the trap into which they had fallen, and -returned to the main camp. - -Before the winter-quarters were broken up, and the fighting for the -summer of 1778 began, Lafayette had the great joy of announcing to the -American army that the King of France was going to send a fleet and an -army to aid the United States. Then, for the first time, he felt sure of -final victory. He was immensely pleased to think that he was going to be -able to fight side by side with his own countrymen on American soil for -American liberty. It was largely his own wisdom and zeal that had -brought about this result, for young as he was, he already showed -himself a far-sighted statesman, as well as a brave, skillful, and -prudent soldier. - -Although he had been less than a year in the country, he had endeared -himself to all hearts, and had especially won the entire confidence of -General Washington. - -[TO BE CONTINUED.] - - - - -STAMP COLLECTING. - -BY J. J. CASEY. - - -I have no doubt that many of the readers of YOUNG PEOPLE are stamp -collectors, and that many more are ready to become stamp collectors if -they are started properly. Little difficulty is experienced at the -present day in getting a good assortment of stamps, because the great -spread of the postal system, and the resulting increase of -correspondence, bring the stamps of every foreign country into the -business houses of New York. But the main difficulty is so to manage -with the stamps as to make them more than a plaything for a few -weeks--to make them really instructive, and their possessors real -Philatelists. - -The materials requisite for the beginner are very few--a blank book, -some sheets of very thin writing-paper, and a small bottle of pure -gum-arabic dissolved in water and made thin. Of course, when the -collection increases and begins to assume form, this blank book must -give way to a special album; but in the beginning a small book, worth, -say, four or five cents, will suffice. Thus provided, you are ready to -begin your collection. - -[Illustration: FIG. 1.] - -[Illustration: FIG. 2.] - -Every reader of YOUNG PEOPLE has friends who have a correspondence more -or less extensive, and whose desks are, therefore, store-houses of -postage stamps. Requests for these stamps will seldom be denied, and in -a very little while the beginner will have enough to make a start. Look -over the specimens, pick out those that are the cleanest, and put aside -as useless those that are torn or much defaced. Remove any superfluous -paper from the back of the stamps selected for use by carefully touching -the backs with warm water, when the adhering paper can easily be peeled -off. Then cut the sheets of thin writing-paper into strips half an inch -wide, gum along one edge of the strips, and lay the stamps on the gummed -edge as in Fig. 1. Next cut the strips and trim the paper as in Fig. 2. -Now fold this little strip of paper backward, so as to make a hinge, and -fasten it to the blank page by a touch of gum. This is called mounting -the stamp. - -Now you may ask why all this labor, all this patience, with a lot of -common stamps. Simply this: this system has been adopted by all -Philatelists, but only after many trials, and the destruction of many -fine specimens; and it is well, therefore, to be guided by the -experience of others. Again, the collection will increase in interest, -which could not be the case if no pains were taken in the mounting, and -it will increase in size. You will, of course, desire to transfer the -stamps to a more pretentious and permanent album. A little moisture will -loosen the strip from the first book, when it can be placed in the new -book without damage. Even when here you may wish to replace it by a -better specimen without injury to the book. Another plan is to mount the -stamps on thin card-board a trifle larger than the stamp, gum a square -of paper to the back of the card, and a touch of gum to the centre will -fasten it to the page. - -But why hinge the stamp? Simply to enable you to write under it the date -of issue, its cost, and certain other matters connected with the stamp -itself, so that you may have at hand the few facts necessary to be -known--all of which is necessary if you wish to be a true Philatelist. - -[Illustration] - -Another point to which particular attention is directed: do not cut the -stamps close up to the printed designs; if perforated, do not cut off -the perforations. Aside from destroying the appearance of the stamps, -you also destroy their value for collectors. Not long since a very large -collection of stamps was sold by auction. Hundreds and hundreds of -dollars must have been spent in purchasing the specimens, among which -were numbers of all rarities. The owner had trimmed and trimmed his -specimens, cutting away everything up to the printed design. The -collection went for a mere song, in comparison to what it would have -brought if the scissors had been left alone. No true collector fancies a -mutilated specimen. - -[Illustration] - -Thus far I have told you how to select your specimens, and prepare them -for your blank book. At the outset it is likely you will receive nothing -but current stamps of the several countries. Take all you get, select -the best of each kind for yourself, and keep the others to make -exchanges with your companions. That you may have some idea of the value -of your specimens, it would be well to provide yourself with a catalogue -of stamps, in which you will find full lists of all stamps issued, and -in some many illustrations of the stamps. By exercising judgment in your -exchanges you will soon be enabled to get together quite a number of -good specimens from all quarters of the globe, and these without -spending a single penny. Of course there is a limit to this mode of -collecting, and you will soon find that you will require some loose -change in order to add to your album. But do not let this frighten you. -As interest in your collection increases--and it will increase if you -start out properly--ways and means will suggest themselves for getting -desired specimens, and you will be astonished how much you can do at a -little outlay. My collection, which numbers over fourteen thousand -specimens, and which at the very lowest estimate is worth $15,000, has -not cost me $1500 in money. And all this by making judicious use of the -knowledge I acquired gradually, and by following out the principles I -have laid down for your guidance. And my stamps are to-day as great a -source of pleasure to me, if not greater, as were the first specimens I -got eighteen or twenty years ago. - -[Illustration] - -What I have written thus far applies only to postage or revenue stamps. -Stamped envelopes and wrappers and postal cards must be managed -differently, but it will be well to leave the proper mounting of these -until you have advanced with your "adhesives." For the present, -therefore, it will suffice to say, Do not cut out the designs from the -envelope, wrapper, or card. Keep whole. However, the system of stamps -has increased so enormously that it is next to impossible to keep up -with the different classes. As a consequence, collectors are turning to -specialties. Some devote themselves to postal adhesives, others to -revenue stamps; some to stamped envelopes and wrappers, others to postal -cards; and some, again, collect nothing but the private die proprietary -stamps of the United States. Each of these is a field large enough in -itself to be covered properly, and the one who attempts to cover all, or -even several, will require a very long purse, and more time than can be -spared in this busy age. - -Make your choice, therefore, and stick to that alone. - - - - -FARM-HOUSE PETS IN JAPAN. - -BY ELLIOT GRIFFIS. - - -The Japanese people are very fond of pets. It is very rare to find a -house entirely destitute of some favorite animal, from the costly _chin_ -(King Charles spaniel) to the bob-tailed cat that purrs near the -tea-kettle on the _hibachi_, or fire-box. Canary-birds are quite common, -and in place of something more rare, tiny bantam fowls are caressed and -petted. Even a "rain-frog," or tree-toad, has been made a child's -darling, while the little water turtles with fringed tails are prized as -rare objects of delight. - -In the country the boys of the family catch by trap or pit the wild -animals on the hills, and tame them. Hares are the most common creatures -caught, and in a little box of pine wood, with an open front of bamboo -cane, the little pet finds a home. It soon learns to run about the -house, and stand on its hind-legs to nibble bits of radish or lumps of -boiled rice from the children's hands. - -Sometimes the farmers find bigger game in their snares, such as badgers -and foxes. If the badger is young, or if the boys can find an old mother -badger's nest, the little cubs can be easily tamed. If kindly treated, -kept from dogs, and not provoked, they are quite harmless. - -[Illustration] - -But the big badgers are very snappish, and their bites are dangerous. In -the picture we see the old lady of the farm-house, quite scared at the -big badger which one of her sons has caught and hung up by the legs. See -her girdle tied in front, as is the fashion with old ladies in Japan. -"_Naru hodo!_ what a nasty beast!" she is saying. By-and-by the boys -will kill the brute with arrows, and sell the skin to the drum-maker and -the hair to the brush-maker, and the dogs will have a fine feast. - -What is that little board at the top, with a rope on either side? - -That is the farmer's device to keep the birds away from his rice just -planted. The string makes the crows afraid, and the short bits of bamboo -clatter against the board, and scare off the little birds. The old -badger is tied up by the legs on one of these posts in the field. - - - - -[Begun in No. 46 of HARPER'S YOUNG PEOPLE, September 14.] - -WHO WAS PAUL GRAYSON? - -BY JOHN HABBERTON, - -AUTHOR OF "HELEN'S BABIES." - -CHAPTER IX. - -BENNY'S PARTY. - - -Mr. Morton's school closed on the last day of June, and the parents of -the pupils were so well pleased with the progress their sons had made -that they almost all thanked the teacher, besides paying him, and they -hoped that he would open it again in the autumn. Mr. Morton thanked the -gentlemen in return, and said he would think about it; he was not -certain that he could afford to begin a new term unless more pupils were -promised, although he did not believe the entire county could supply -better boys than those he had already taught at Laketon. - -The boys, when they heard this, determined that they would not be -outdone in the way of compliment, so they resolved, at a full meeting -held in Sam Wardwell's' father's barn, that Mr. Morton was a brick, and -the class would prove it by giving him as handsome a gold watch chain as -could be bought by a contribution of fifty cents from each of the -twenty-three boys. Every boy paid in his fifty cents, although some of -them had to part with special treasures in order to get the money: Benny -Mallow sacrificed his whole collection of birds' eggs, which included -forty-seven varieties, after having first vainly endeavored to raise the -money upon two mole-skins, his swimming tights, and a very large lion -that he had spent nearly a day in cutting from a menagerie poster. The -chain, suitably inscribed, was formally presented in a neat speech by -Joe Appleby; Paul Grayson absolutely refused to do it, insisting that -Joe was the real head of the school; indeed, Paul himself asked Joe to -make the speech, and from that time forth Joe himself pronounced Paul a -royal good fellow, and even introduced him to all girls of his -acquaintance who wore long dresses. - -For at least a month after school closed the boys were as busy at one -sort of play and another as if they had a great deal of lost time to -make up. Getting ready for the Fourth of July consumed nearly a week, -and getting over the accidents of the day took a week more. Some of the -boys went fishing every day; others tried boating; two or three made -long pedestrian tours--or started on them--and a few went with Mr. -Morton and Paul on short mineralogical and botanical excursions. - -Then, just as mere sport began to be wearisome, August came in, and the -larger fruits of all sorts began to ripen. Fruit was so plenty in and -about Laketon that no one attached special value to it; a respectable -boy needed only to ask in order to get all he could eat, so boys were -invited to each other's gardens to try early apples or plums or pears, -and as no boy was exactly sure which particular fruit or variety he most -liked, the visits were about as numerous as the varieties. Later in the -month the peaches ripened; and as the boy who could not eat a hatful at -a sitting was not considered very much of a fellow, several hours of -every clear day were consumed by attention to peach-trees. - -Besides all these delightful duties a great deal of talking had to be -done about the coming cold season. Boys who had spent unsatisfactory -autumns and winters in other years began in time to trade for such -skates, or sleds, or game bags, or other necessities as they might be -without, and the result was that some other boys who traded found -themselves in a very bad way when cold weather came. Between all the -occupations named, time flew so fast that September and the beginning of -another school term were very near at hand before any boy had half -finished all that he had meant to do during vacation. - -There were still some pleasant things to look forward to, though: court -would sit in the first week of September, and then the counterfeiter -would be tried, while on the very first day of September would come -Benny Mallow's birthday party--an affair that every year was looked -forward to with pleasure, for Benny's mother, although far from rich, -was very proud of her children, and always made their little companies -as pleasant as any ever given in Laketon for young people. When Benny's -birthday anniversary arrived every respectable boy who knew him was sure -to be invited, even if he had shamefully cheated Benny in a trade a week -before, and Benny generally was cheated when he traded at all, for -whatever thing he wanted seemed so immense beside what he had to offer -for it, that year by year he seemed to own less and less. - -At last the night of the party came, and even Joe Appleby, whose own -birthday parties were quite choice affairs, was manly enough to declare -that it was the finest thing of the year. The house was tastefully -dressed with flowers, which always grew to perfection in Mrs. Mallow's -garden, and the lady of the house knew just how to use them to the best -advantage. Benny and his sister received the guests; and although Benny -was barely twelve years old that day, and rather small for his age, he -appeared quite graceful and manly in his new Sunday suit, which had not, -like the new suits of most of the Laketon boys, been cut with a view to -his growing within the year. His sister Bessie was only a month or two -beyond her tenth birthday, but in white muslin and blue ribbons, with -her flaxen hair in a long heavy braid on her back, and her bright blue -eyes and delicate pink cheeks, she was pretty enough to distract -attention from some girls who wore longer dresses, and, indeed, from -several girls in very long dresses, who had been invited out of respect -for the tastes of Joe Appleby, Will Palmer, and Paul Grayson. - -Mrs. Mallow was as successful at entertaining young people as she was in -dressing her children and ornamenting her little cottage. She had -prepared charades, and given Bessie a lot of new riddles to propose, and -she herself played on her rather old piano some airs that the boys -enjoyed far more than they did the "exercises" that their sisters were -continually drumming. Several of the boys were rather disappointed at -there being no kissing games, but they compromised on "choosing -partners"; and as there were some guessing tricks, in which the boys who -missed had each to select a girl, and retire to the hall with her until -a new "guess" was agreed upon, it is quite probable that most of the -boys enjoyed opportunities for kissing their particular lady friends -once or twice. - -As for the supper, a month passed before Sam Wardwell could think of it -without his mouth watering. There were chicken salad and three kinds of -cake, and ice-cream and water ices and lemonade, and oranges and bananas -that had come all the way from New York in a box by themselves, and -there were mottoes and mixed candies and figs and raisins and English -walnuts, while so many of the almonds had double kernels that every girl -in the room ate at least two philopenas, and therefore had enough to -busy her mind for a day in determining what presents she would claim. - -[Illustration: "DE COUNTERFEITER DONE BROKE OUT OB DE JAIL!"] - -But, in spite of a well-supplied table and forty or fifty appetites that -never had been known to fail, full justice was not done to that supper, -for while at least half of the company had not got through with the -cream and ices, and Sam Wardwell had only had time to taste one kind of -cake (having helped himself three times to chicken salad), a small -colored boy, who knew by experience that news-carrying levels all ranks, -if only the news is great enough, knocked at the door, and asked for -Benny. While the door stood ajar, and Mrs. Mallow went in search of her -boy, the spectacle of a number of other boys standing in the hall was -too much for the colored boy, so he gasped, "De counterfeiter done broke -out ob de jail!" - -Then there was a time. Two or three of the boys abandoned their partners -at once, and hurried to the door to ask questions, while one or two more -seized their hats, sneaked toward the back door, walked leisurely out, -as if they merely wished to cool off, and then started on a rapid run -for the jail. Benny wished to follow them--and not for the purpose of -bringing them back, either--and all of his mother's reasoning powers and -authority had to be exerted to keep her son from forsaking his guests. -Strangest of all, Paul Grayson, who had throughout the evening made -himself so agreeable to at least half a dozen of the young ladies that -he was pronounced just too splendid for anything, had been among the -first to run away! Benny said he never would have thought it of Paul, -and his mother said the very same thing, while the girls, who but a few -moments before had been loud in his praise, now clustered together, with -very red cheeks, and agreed that if a mean old counterfeiter was more -interesting than a lot of young ladies, why, they were sure that -_Mister_ Paul Grayson was entirely welcome to all he could see of the -horrid wretch. - -Still, the party went on, after a fashion, although some of the girls -were rather absent-minded for a few moments, until they had determined -what particularly cutting speeches they would make to their beaux when -next they met them. They did not have long to wait, for soon the boys -came straggling back, Sam Wardwell being the first to arrive, for, as on -reaching the jail Sam could learn nothing, and found nothing to look at -but the open door of the empty cell, he shrewdly determined that there -might yet be time to get some more ice-cream if he hurried back. Somehow -none of the girls abused him; on the contrary, they seemed so anxious to -know all about the escape that Sam was almost sorry that he had not -remained away longer and learned more. - -Then Ned Johnston returned. He had been lucky enough to meet a man who -had wanted to be Deputy-Sheriff and jail-keeper, but had failed; he told -Ned that the jailer had stupidly forgotten to bolt the great door, after -having examined the inside of the cell, as he did every night before -retiring, to see if the prisoner had been attempting to cut through the -walls. The prisoner had been smart enough to listen, and to notice that -the bolts were not shot nor the key turned, so he had quietly walked -out, and had not Mr. Wardwell met him on the street, and recognized him -in spite of the darkness, and hurried off to tell the Sheriff, no one -would have known of the escape until morning. There was not the -slightest chance of catching the prisoner again, the would-be deputy had -said to Ned; there wasn't brains enough in the Sheriff and all his staff -to get the better of a smart man; but things would be very different if -proper men were in office. - -When the party finally broke up, several boys were still missing; but as -their absence gave several other boys the chance to escort two girls -home instead of one, these faithful beaux determined that they had not -lost so very much by remaining, after all. - -[TO BE CONTINUED.] - - - - -COUNTRY ANECDOTES. - - -I once saw a life-and-death struggle between two apparently very unequal -opponents--a frog and a beetle. As I was standing near the cellar -window, which was below-ground, and protected by an iron grating, I -noticed in the area below it a large frog, which, at regular intervals -of one or two minutes, leaped from one side of the little inclosure to -the other. I looked more closely, and saw that it was each time followed -by a black beetle, that walked backward and forward, not seeming at all -discouraged when the frog, every time it reached it, jumped back over -its head, and so escaped. It was evidently a trial of strength and -perseverance between the two, and I was anxious to see which would first -give in. They went on, however, for such a long time that I grew tired -of watching them, and went away. The next morning, as I was again -passing, I looked down the area to see what had been the result of the -struggle, and, strange to say, it was still going on; the beetle -deliberately hunting its victim, which, whenever they were about to -meet, escaped by a great leap to the other side of its prison. Not until -that evening did it end: then the poor frog, tired out, and too much -exhausted to make any resistance, became the prey of its enemy, and no -doubt furnished its meals for many a day. - -As there were a good many rats about the out-houses and wood stacks, -professional rat-catchers used to come once or twice a year, with their -dogs and ferrets, and were paid according to the number they killed. -Once when our gardener was assisting at the work of destruction he -pulled one of the ferrets out of a hole, where it had been killing a -brood of young rats. The poor mother, who had probably just returned -from an expedition in search of food for her young ones, rushed out -after the ferret, ran up the man's leg, on to his shoulder, and down his -arm, quite blind to her own danger, and only desirous to reach the -object of her vengeance in his hand. - - - - -OUR BABY. - -BY JIMMY BROWN. - - -Mr. Martin has gone away. He's gone to Europe or Hartford or some such -place. Anyway I hope we'll never see him again. The expressman says that -part of him went in the stage and part of him was sent in a box by -express, but I don't know whether it is true or not. - -I never could see the use of babies. We have one at our house that -belongs to mother and she thinks everything of it. I can't see anything -wonderful about it. All it can do is to cry and pull hair and kick. It -hasn't half the sense of my dog, and it can't even chase a cat. Mother -and Sue wouldn't have a dog in the house, but they are always going on -about the baby and saying "ain't it perfectly sweet!" Why I wouldn't -change Sitting Bull for a dozen babies, or at least I wouldn't change -him if I had him. After the time he bit Mr. Martin's leg father said -"that brute sha'n't stay here another day." I don't know what became of -him, but the next morning he was gone and I have never seen him since. I -have had great sorrows though people think I'm only a boy. - -The worst thing about a baby is that you're expected to take care of him -and then you get scolded afterward. Folks say "Here, Jimmy! just hold -the baby a minute, that's a good boy," and then as soon as you have got -it they say "Don't do that my goodness gracious the boy will kill the -child hold it up straight you good-for-nothing little wretch." It is -pretty hard to do your best and then be scolded for it, but that's the -way boys are treated. Perhaps after I'm dead folks will wish they had -done differently. - -Last Saturday mother and Sue went out to make calls and told me to stay -home and take care of the baby. There was a base-ball match but what -did they care? They didn't want to go to it and so it made no difference -whether I went to it or not. They said they would be gone only a little -while and that if the baby waked up I was to play with it and keep it -from crying and be sure you don't let it swallow any pins. Of course I -had to do it. The baby was sound asleep when they went out, so I left it -just for a few minutes while I went to see if there was any pie in the -pantry. If I was a woman I wouldn't be so dreadfully suspicious as to -keep everything locked up. When I got back up stairs again the baby was -awake and was howling like he was full of pins. So I gave him the first -thing that came handy to keep him quiet. It happened to be a bottle of -French polish with a sponge in it on the end of a wire that Sue uses to -black her shoes, because girls are too lazy to use a regular -blacking-brush. - -The baby stopped crying as soon as I gave him the bottle and I sat down -to read the YOUNG PEOPLE. The next time I looked at him he'd got out the -sponge and about half his face was jet black. This was a nice fix, for I -knew nothing could get the black off his face, and when mother came home -she would say the baby was spoiled and I had done it. - -Now I think an all black baby is ever so much more stylish than an all -white baby, and when I saw the baby was part black I made up my mind -that if I blacked it all over it would be worth more than it ever had -been and perhaps mother would be ever so much pleased. So I hurried up -and gave it a good coat of black. You should have seen how that baby -shined! The polish dried just as soon as it was put on, and I had just -time to get the baby dressed again when mother and Sue came in. - -I wouldn't lower myself to repeat their unkind language. When you've -been called a murdering little villain and an unnatural son it will -wrinkle in your heart for ages. After what they said to me I didn't even -seem to mind about father but went up stairs with him almost as if I was -going to church or something that wouldn't hurt much. - -The baby is beautiful and shiny, though the doctor says it will wear off -in a few years. Nobody shows any gratitude for all the trouble I took, -and I can tell you it isn't easy to black a baby without getting it into -his eyes and hair. I sometimes think that it is hardly worth while to -live in this cold and unfeeling world. - - - - -THE UNLUCKY SETTLERS. - -BY WILLIAM O. STODDARD. - - -Deacon Whitney's drug store fronted on the green, and Steve had just -come out, and his father was standing in the door. - -Just then Andy Yokum called out across the street, "Steve! Steve -Whitney! what are we boys going to do with this here Saturday, now we've -lost our ball?" - -"I know what I'd like to do. Come over here." - -"What is it, Steve?" - -"Well, you see, Andy, I was down to old Captain Hollowboy's after school -yesterday with a lot of all sorts of chemicals and things he'd been -buying, and I knocked and I knocked, and I couldn't get in; so I went -around to the back door, and there was Captain Hollowboy looking up at -the biggest hornets' nest you ever saw." - -"Hornets' nest? Wasn't he trying to break 'em up?" - -"No, sir! He was just looking at 'em. And he told me he'd been watching -that nest ever since the hornets began on it." - -"Haven't they stung him yet?" - -"Well, no; he said they hadn't. He's an old bachelor, you know, and he -said hornets were good enough neighbors as long as there weren't any -small boys around." - -"Couldn't we get him to let us go in on that nest?" - -"That's just what I asked him, and he said--" - -"Hold up, Steve--here he comes!" - -"Good-morning, Captain Hollowboy. Toothache, eh? I'll get you -something." - -"Toothache, Deacon! No, it isn't toothache. Is this the drug store? Have -I got here? Can't but just see." - -"Steve," shouted Andy, "just look at his face! It's all mud." - -Captain Hollowboy had taken away his great red bandana handkerchief to -look around him, and Deacon Whitney was holding up both his hands. - -"What is the matter, Captain?" - -"Hornets, Deacon, hornets. The most pernicious and ungrateful of all -insects. I have applied aqueously saturated alluvium, but I want some -ammonia." - -"Slapped on some mud first, and now you want to try some hartshorn? -That's right. I'll get you some quick." - -He was getting behind the counter very fast for so fat a man, but Steve -shouted, "Hurrah, Andy! let's go for the Captain's nest." - -"Do, my dear boys, do. I consent to their utter obliteration and -extermination; but I wish you would preserve their interesting domicile -intact." - -"He means, Andy, that we may kill the hornets, but we mustn't spoil the -nest. He's awful on big words." - -"How did it happen?" asked the Deacon, as he held out a big bottle and a -sponge. - -"Happen? It was no fault of mine. I did but attempt an unobtrusive -inspection of the marvellous ramifications of their intricate -habitation." - -"That's it," said Steve. "He stuck his nose into the nest, and they all -went for him. Come on, Andy." - -They were out of sight by the time half the mud had been sponged from -the Captain's long lean face, but before they reached his queer little -house, at the further corner of the village green, the hornets were in -trouble. - -Harman Strauss and Bill Ogden and Van Seaver had seen the Captain run, -and they all knew about that hornets' nest. - -"Fire's the thing," said Van. - -"Biggest smoke we can make," said Harm Strauss. - -"We must wrap our heads up," said Bill Ogden, "but it'll be the biggest -kind of a Saturday." - -Van had some matches in his pocket, and the heap of sticks and straw and -chips the boys gathered for him was a foot high by the time he got the -third match well a-going. - -The hornet's nest was a big one, and there was a wonderfully numerous -tribe of winged settlers in it. They had picked out a fine airy place to -hang their house--just under the eaves of the open shed, back of Captain -Hollowboy's one-story kitchen, at the corner. - -The right place for the fire was at the foot of the upright corner post, -but Harman Strauss told Van, "If we stick it there, Van, we'll set the -house afire." - -"That'd never do," said Bill Seaver. "It's jam-full of all sorts of -chemicals and things. There'd be an awful blow-up if that house got -afire." - -"Might spoil the village." - -"Oh, but wouldn't it blow those hornets good and high!" - -Just at that moment Steve Whitney and Andy Yokum came over the fence. -They did not even wait to put their handkerchiefs around their necks and -faces before they began to gather great bunches of weeds. - -It was time every boy of them had some kind of a brush in his hand, for -the angry insects had smelled the smoke, and were coming out to see -about it. - -Such a fire department as they turned themselves into! Or, rather, they -set out as a kind of police brigade to fight a crowd of young -incendiaries, and save Captain Hollowboy's house from being set on fire -and burned up. They were at least determined that not one of those boys -should get any nearer the house they had so carefully built for -themselves against the eaves. - -"Mud! mud!" shouted Steve, in half a minute. "Boys, where does the -Captain keep his mud?" - -"Have they stung you?" - -"Oh, my nose!" - -Steve had just started to run for some mud, when he gave another shrill -whoop, "Yow! he's in my neck!" and there was no such thing as any other -boy helping him, for each one of them was thrashing away at the nearest -hornet. That is, except Van, for he had been after some more sticks, and -was just putting them on the fire when he felt as if some one had -dropped a live coal right on his left ankle. - -"Wah!" yelled Van; "I've burned a hole in one of my stockings. Ou! it's -burned another! Oh, boys, it's two hornets lit right side by side. Oh -dear!" and there he was, rolling over in the grass, and striking with a -bunch of weeds at something he saw in the air above him. - -[Illustration: SMOKING THE HORNETS' NEST.--DRAWN BY S. G. MCCUTCHEON.] - -Harman Strauss had been the wisest of them all, for he had pulled a -couple of damp towels off the clothes-line, and had wrapped his head in -one, and given the other to Bill Ogden. - -Now he had found Captain Hollowboy's garden rake, and was shouting, -"Give it to 'em, boys! You kill the hornets, and I'll pull down the -nest. We must keep it for the Captain." - -"He wants it for a specimen," explained Steve Whitney. - -"Will he pickle it somehow?" asked Andy; but at that moment it seemed to -him as if he had leaned against a red-hot pin, and he clapped his hand -to his side. He had better not have dropped his bunch of weeds just -then, for in a second more he was calling out, "Van! Van! did you say -you knew where the mud was?" - -"Here it is, Andy, right by the cistern. The Captain must have stirred -it up for himself." - -"And they kept right on stinging him while he was putting it on." - -"Yah! That's just what they're doing now. They can sting right through a -shirt sleeve." - -"Sting? I guess they can; right through anything. Oh dear! I've got -another! Boys, we won't leave one of 'em!" - -"Boys! boys! I say, boys, what are you doing? I never indicated my -assent to the application of fire!" - -"I declare!" exclaimed Deacon Whitney, as he came through the gate -behind Captain Hollowboy, "the young rascals have set them all a-going." - -"Can you see, Deacon? I can not with any accuracy. Where have they -located the combustion?" - -"Stuck their bonfire right under the nest, Captain. Let 'em alone. The -upright's burnin' a leetle, but you can put it out easy." - -As he said that, Harm Strauss made a valiant pull with his rake, and -down came the nest right into the bonfire. - -"There!" exclaimed Steve, "you've spoiled it!" - -"Such an exceptionally well-developed specimen!" groaned the Captain. -"Pull it out, one of you." - -"Oh! oh!" roared the Deacon, clapping both hands on his ample stomach, -and doing his best to lean over; "I hope he has pulled it out. It must -have gone in half an inch." - -The fire had rapidly blazed high and hot, for straw and splinters and -chips kindle fast; and there were no hornets in that nest now, nor any -nest left to hold hornets. In fact, for that matter, Captain Hollowboy's -yard and garden, and the road in front, were too small to hold what was -left of them, and any men and boys at the same time. - -Old Mrs. Jones, who lived next door, put her head out of her window to -see what was going on, and then that window came down with a great slam; -and the next thing seen of Mrs. Jones, her silver spectacles were -dropping off into the water-pail as she stooped over it. - -There was no doubt but what that settlement of hornets was thoroughly -broken up; but Captain Hollowboy led the way back to the drug store, and -they were all ready to go with him. - -"I am sorry," he said to the Deacon, "that you or any of my young -friends are suffering physical inconvenience from the atrocious assaults -of those pernicious insects, but I regret the obliteration of so -remarkable a specimen of their ingenuity." - - - - -[Illustration: BUCKWHEAT CAKES.] - - - - -ANCIENT EGYPT. - - -Of all the curious works of the ancient Egyptians, the most strange and -dream-like are the sphinxes. They are innumerable along the Nile, half -man, half beast, carved in solid stone. But one--known as the -Sphinx--the largest and most wonderful, sits near the Pyramids, with -staring stone eyes that seem to have almost learned to see. It is half -buried in the sands. Its head rises more than sixty feet above its base. -Whole avenues of sphinxes lined the courts of the Egyptian temples. Then -there are the tombs, or catacombs, where the mummies are preserved--long -galleries cut in the rock, decorated with paintings, covered with the -dust of generations. Along the river these cemeteries are almost -numberless. On the walls are drawn all the various occupations of the -people. The fisherman is seen drawing his nets, the ploughman driving -his team, the soldier returning from the war. But the most curious of -the catacombs are those devoted to the preservation of the mummies of -cats, bulls, birds of all kinds, and crocodiles. The Egyptians -worshipped animals and birds, and when they died, preserved their bodies -by a singular process. The bull (Apis) was adored at Memphis, and his -death was a season of general woe. When a cat in a house at Thebes died, -all the family went in mourning, and shaved their eyebrows. - - - - -THE GRAND PROCESSION. - -BY MARY DENSEL. - - -Elsie Baker was sitting on a log in the wood-shed, gloomily listening to -her brother Joe, who was talking with much enthusiasm. - -"For I tell you, sir," said he to Elsie, "it isn't every boy who'll get -a chance to be in that percession to-night, sir. There'll be a thousand -torches, and speeches, and fire-works; and the train leaves Porter's -Corner at six o'clock; and Mr. Hill says to me, 'You be on hand, Joe, -you and Jack Stone, and you may go to Portland along of the -"Continentals," and march each side of the flag, and wear white rubber -capes, and carry a torch apiece if you like.' It's to be the biggest -show of the season, and--" - -"I can't go," burst in Elsie. "Just because I'm a girl I can never go -anywhere or see anything." - -"Of course not," assented Joe, cheerfully. "Girls never can. I go -because father's in Ohio, and I'm the man of the family. I declare I -shouldn't wonder if half the people in Portland should think Jack and I -could vote when they see us _percessing_. Three cheers for Hanfield!" - -Hanfield? Hanfield? That did not sound quite right. Joe meditated. -Hanfield? Well, never mind. There was no time to waste over names. If -Joe would help toward the election of a President of the United States, -he must be off and away for Jack Stone, or the two would miss the train. - -And Elsie? Poor little Elsie was left forlorn. She was quite alone, for -her mother had gone to visit a sick neighbor, and would not even be at -home for tea. - -"Oh, _why_ shouldn't a girl do just what her brother does, and have some -fun?" thought Elsie, bitterly. "Or else why wasn't I born a boy?" - -She sat close to the andirons in front of the wood fire, and more and -more dismal did she grow. She had nearly come to wondering whether it -was really worth while to live if one had to be only a girl, when the -front door burst open, and in bounced Master Joe. - -"Elsie," cried he, grasping her by the arm, "here's your chance. You can -go." - -"Go? go?" repeated Elsie, flushing crimson with excitement. - -Joe hurried on. "Jack Stone's sick. Earache--both ears--onions on' -em--here's his cap--who'll know you're not a boy?--tuck up your -skirts--on with this big cape--come!" - -Elsie was beside herself. "Mother wouldn't let me," she half gasped. - -"Did she ever say you mustn't?" argued Joe. "Like as not we'll be back -before she is. Don't be a goose. There's no time to talk. Hurry! hurry! -You won't get such another chance." - -Her eyes flashing, her brain in a whirl, Elsie pulled the blue cap over -her short curls. Her little petticoats were quickly pinned up and -covered by the rubber cape. With her unlighted torch over her shoulder, -who would not have thought her a sturdy younger brother of the boy who -held her tightly by the hand, and exhorted her not to let the grass grow -under her feet. - -Down the road they flew, and reached the station just as the -"Continentals" came marching up with fife and drum. - -"Here we are, Mr. Hill," said Joe, presenting himself and his companion. - -"All right," said Mr. Hill, too busy to pay much attention. "Keep with -the rest of the men. How are you, Jack, my boy?" - -There was no time for the make-believe "Jack, my boy" to answer. The -engine was puffing and panting. Elsie was swung on the train, where Joe -and she tucked themselves away on a back seat. - -The "Continentals" were in the best of humor, so were the "Philbrick -Pioneers," who, gorgeous in their Zouave regimentals, came crowding into -the car at the next station, to crack jokes and talk politics. - -"Well done, little chaps," said their captain, spying out Joe and his -comrade. "You're beginning early, eh? Nothing like getting the boys on -the right side. Ha! ha!" - -Joe grinned, and was about to volunteer a "Hurrah for Hanfield!" but -thought better of it. - -One of the men frightened Elsie nearly out of her wits by chucking her -under the chin, and shouting, rudely, - -"You're a bright-eyed cove, you are. Does your mother know you're out?" - -A sharp nudge from Joe kept her from saying, "No, she doesn't," but she -shrunk close up to him, whispering, fearfully, - -"Me the only girl, Joe!" - -"Hush! Nobody'll think it, if you keep quiet," said Joe, hastily, -himself a little disturbed; the men were so rough, and made so much -noise. - -But while he was thinking what he should do if any one else insulted his -sister the train stopped with a jerk, and everybody was out in a -twinkling. - -There were shouts of command. The "Continentals" and "Pioneers" fell -into line. Torches were lit. A host of boys set up shrill yells. Joe and -Elsie were twitched into place by energetic Mr. Hill, and ordered to -hold up their heads and keep time to the music. - -"Isn't it fun?" thought Elsie, stepping briskly along, and grasping her -torch with both hands. - -If one hundred torches were "fun," what could be said when they reached -Market Square, where the grand procession was to form, and where there -was a blaze of light such as Elsie had never imagined! Bands were -playing, horses were prancing; some one set fire to a sort of powder, -and, lo! the whole street was rosy red. - -Now everything was ready, and the march began. Whole blocks on each side -were festooned with bunting and Chinese lanterns; candles twinkled in -every pane; all the gas-burners did their best; Roman candles shot out -colored stars; rockets went up with a fizz. - -"Hurrah! hurrah! hurrah!" The procession was pausing in front of a big -house. Somebody was making a speech. Nobody could understand half he -said. No matter. "Hurrah! hurrah! hurrah!" Elsie shouted with the rest, -and trotted gayly on. - -"No reason in the world I shouldn't have come, like any other boy! -Hurrah!" - -Up one street and down another, each more brilliant than the last, Elsie -marched on, till suddenly a small, then a larger, pain began to make -itself felt in one of her feet. - -"It's my new boots," said she to herself. "Why didn't I change them? -I'll stamp hard and then I shall be easy." - -But somehow she was not easy. Up one street, down another. It was not so -much a pain in one particular spot now as a general ache, not only in -her foot, but in her whole body. - -"I'm afraid I'm growing tired." - -She glanced at Joe. That worthy was in high spirits, and apparently as -fresh as ever. Elsie limped bravely on. Across an open space the -procession wheeled, and halted again to drink lemonade out of big tubs -on the sidewalk. Elsie ventured to complain to Joe. - -"Oh, cheer up!" was all the comfort he had for her. "We've marched 'most -half the distance now." - -"'Most half the distance!" Why, Elsie could never hold out if that were -the case. Once more she struggled on. It seemed as if she had been -marching for years and years--ever since she was a baby. She could not -drag herself another inch. In the midst of a cheer she crept up a flight -of steps, and sank down. - -"I'll wait a few minutes, and then run fast, and catch Joe again," -thought she. - -The next moment, as it seemed, she heard two voices near her. - -"The party must be hard up that has to take babies like this to help on -their cause," said one. - -"Poor little fellow!" answered the other--a lady. "He's dropped down, -torch and all, and gone to sleep." - -Elsie started and looked around her. Where was the procession? Where was -Joe? Too terrified to say a word, up the street she rushed, gazing -wildly on this side and on that. No Joe did she see; no procession -either. It would have been quite dark but for the street lamps. - -"I must stop somewhere. I must ask some one for Joe." - -At a house smaller than the others she paused, and rang the bell. There -was a confused sound of talking within. - -"Don't you open that door as you value your life, Phoebe Maria," said -some one in shrill tones. "Us all alone! This time of night! It's -tramps, sure!" - -Then Phoebe Maria called through the key-hole, "Go right away. I -sha'n't let you in if you stop there till midnight. De-part!" - -I think if the word "de-_part_" had not sounded so very ponderous, Elsie -would have called back that she was no tramp. As it was, she ran blindly -on. - -"Mother! mother!" she sobbed, wringing her little cold hands. But no one -answered. A clock near by tolled nine, ten, eleven. Two drops of rain -fell. The wind rustled drearily among the tree-tops. - -Steps sounded near. A tall man approached, and Elsie caught the gleam of -brass buttons. - -"What are you doing here, boy?" demanded the newcomer, in a great bass -voice. - -"I'm not a boy," cried Elsie. "I never was a boy in all my life. I'm -Elsie Baker. I want to go home." - -She quite broke down, and wept piteously. - -"Hoity-toity!" exclaimed the man, who was one of the police. "Where is -your home?" - -"Out at Porter's Corner. Joe brought me to the percession. I wish he -hadn't. I wish-- Oh dear, dear me!" - -"Now here's a pretty mess!" said the policeman. "There's nothing for it -but to take charge o' you to-night, and see how we can manage to-morrow. -You come along with me." - -Finding the child too exhausted to walk, he picked her up, and tramped -off down in town with his burden. Where did he carry her? - -To tell the truth, there seemed to be no other place, and he took her to -the public "lock-up." - -Elsie was too worn and spent to mind; too hungry was she not to devour -eagerly the bit of salt fish and hard cracker which her new friend gave -her; then forgetting her woes, she fell asleep once more, safely wrapped -in his warm overcoat. - -But, in the morning, waking in a strange place, all the terror of last -night came upon her once more. Through an open door she darted like a -startled hare, and when No. 11 came, an hour later, to find her, no -child was visible. All that was left was the small rubber cape with its -red collar. - -"I must find some cars," thought Elsie. "I can't get home unless I find -some cars." - -It must have been her guardian angel who led the little girl, for, as -she walked hastily along, right in front of her loomed up a big -building, in and out of which locomotives were running. - -"Would you please point out the train for Porter's Corner?" said Elsie, -tremblingly approaching a man who was pushing round some trunks. - -"Bless you! you're at the wrong station for that, sissy or bubby, -whichever you be," said the man, glancing from the girl's dress to the -boy's cap. "But there," added he, as the brown eyes filled with tears, -"a gravel train's just going across the city to the Eastern Dépôt. Come -with me, and I'll take you there." - -Down the track Elsie rode, perched on a heap of gravel. - -"I cal'late you've got a ticket for Porter's Corner?" said her -companion. - -Here was fresh trouble. No ticket had she, and, what was worse, not a -penny to buy one. - -"You don't mean to say you're going to _steal_ a ride!" exclaimed the -man. - -Very likely this was meant for a joke, but Elsie took it for sober -earnest. She had been called a "tramp" last night; now she was taken for -a thief. It was too dreadful. She looked here and there, if perchance -there might be some way of escape from all this misery, and -suddenly--why!--what?--that boy on the platform of the Eastern -Dépôt--could it be? - -"Joe! Joe!" shrieked Elsie. - -It was Joe: a very wretched Joe, a Joe who had not slept a wink all -night, though he had gone home in a vain hope he might find the missing -sister there. - -He saw Elsie. He sprang toward her. He clambered on the car almost -before it stopped. He hugged her, he kissed her. Boy though he was, he -wept great tears over her. Then he took her by both shoulders and shook -her. - -"Oh, you bad girl! Where have you been? You've frightened mother 'most -to death. Elsie, Elsie, what _made_ you come to Portland?" - -"You brought me, Joe," said Elsie, humbly. - -Home they went, those two. At the Porter's Corner station they found -every man and woman of the village, and to each severally must Elsie -tell her story. Her mother never said a word. She only clasped Elsie -tighter and tighter, while the tears streamed down her cheeks. - -But Joe!--oh, Joe did talking enough for all. The lofty sentiments that -flowed from the lips of that virtuous youth were truly refreshing. His -own share in last night's adventures had quite slipped his mind. He felt -called upon, as "the man of the family," to exhort his sister at length -in regard to her manners and morals. - -"And now, Elsie Baker," he ended, "I hope you see why girls can't do as -boys do. I could have marched for a week and not been tired. I hope -you'll remember this the next time you want to tag on when I'm going -anywhere." - -And Elsie was actually so tired that she hadn't the spirit to answer a -word. - - - - -[Illustration: SCANDAL.] - -SCANDAL. - - - "What do you think?" - "I'm sure I don't know!" - "Don't tell anybody!" - "Oh no! oh no!" - - "Somebody told me - That some one else said - That so and so told them - (You won't tell what I said?") - - "Oh no! I won't tell. - What is it? Oh dear! - The way that you tell it, - Is really so queer!" - - "Oh yes! But have patience, - I'll tell you in time; - But I have to make it - All fit into rhyme. - Now don't tell anybody, - Because, if you do, - My secrets, the next time, - I'll not tell to you." - - - - -[Illustration: GOING TO SCHOOL.] - -GOING TO SCHOOL. - - - Slowly to school, slowly they went-- - _His_ eyes on his book were downward bent; - _She_ looked on the ground as they went along, - But neither looked willing to sing a song. - _She_ was thinking of pudding and jam, - _He_ was spelling Seringapatam. - Oh for a kite, or a top, or a ball, - Battledore, shuttlecock, hoop, and all! - - - - -[Illustration: THE BIRD-CATCHER.] - -THE BIRD-CATCHER. - - - Laurence has set such a wonderful trap, - It has a long string, and goes to with a snap; - He has carefully scattered some grains of corn, - And see! there's a bird coming over the lawn; - Away it comes chirruping, chirping, and hopping; - Into the trap it will soon be popping! - Helen and Gisha take part in the sport, - It is so exciting to see a bird caught! - - - - -[Illustration: THE LITTLE WALK.] - -THE LITTLE WALK. - - - Oh, dear me! what a great big hat! - Suppose we were all to wear hats like that! - And see Mab's bonnet and peacock plume-- - I hope her head will find plenty of room! - But Mab is kind, and gives Baby a ride, - The Baby that wears the hat so wide. - They won't have to walk too far or too long, - Unless sister Mab is uncommonly strong, - For Baby looks heavy, and so does her hat-- - The Baby who's sucking her fingers so fat! - - - - -[Illustration: RIGHT OF WAY.] - -"RIGHT OF WAY." - - - "Baa, baa, there's no road this way!" - "Pretty sheep, do let me pass, I say, - It's too late to go back again to-day; - Nice little sheep, please do go away!" - - "Baa, baa, we won't let you by; - It's no use for you to begin to cry. - You can't come this road--no, not if you try, - And never mind asking the reason why." - - - - -[Illustration] - -THE NURSERY CHAIR. - - - Edith sits up in her chair so high; - How busy she looks with her down-bent eye! - What is she doing? Can you not guess? - With her little bare feet, and her little night-dress. - She is plucking the raisins so rich and so nice - From out of her cake that is flavored with spice. - - - - -[Illustration: AN UNINVITED VISITOR.] - -AN UNINVITED VISITOR. - - - Rosie was breakfasting out on the grass, - When two pigs on a walking tour happened to pass. - One pig with rude manners came boldly in front, - And first gave a stare, and then gave a grunt, - As much as to say, "What is that you have got? - Just let me have a taste out of your pot." - But Rosie said, "Go away, horrid old pig! - _I_ am so little, and _you_ are so big!" - - - - -[Illustration] - -SKIPPING. - - - Airily, airily, skip away: - Set to work, all of you, trip away! - Over your head, and under your toes, - That's the way the merry rope goes! - Aprons flap in the breezy air; - Fly away, lessons, this holiday fair! - - - - -[Illustration: OUR POST-OFFICE BOX.] - - - NEW YORK CITY. - - I have a little girl who has derived a great deal of pleasure from - YOUNG PEOPLE. She has had every number since the beginning, and - when through with them she sends them to children who are too poor - to buy papers. - - Perhaps some of the readers of this paper could amuse themselves - by trying to form a word--said to be the only one possible in the - English language--from the following combination of letters: - H E C S T Y. - - S. - - * * * * * - - DRESDEN, GERMANY. - - My dear companion-readers of YOUNG PEOPLE, let me tell you - something about Dresden, the capital of Saxony, in which city I now - live. Dresden is situated on the Elbe--a river of about one-seventh - the size of the Hudson. The city is sometimes called Elb-Florence, - as it contains picture-galleries, museums, nice architectural - buildings, squares, theatres, and handsomely built churches. The - Prager See and the Schloss Strasse are the most crowded streets, - and as I am living on the first one, I enjoy seeing all the - passers-by from my lofty stone balcony. Many good concerts are - given here, and in the summer season the open-air concerts are - visited by all the best people of Dresden. - - The city has many lovely promenades and parks. The Zoological - Garden is a gem, and wild and tame animals of all kinds may be - seen there. Very often queer people, such as Esquimaux, Indians, - Nubians, and Hindoos, come to Dresden, and have an exhibition, and - many strangers may be seen in the streets. To-day the Chevalier - Blondin, the celebrated tight-rope walker, created a great - sensation, and many people attended his daring performance, - rewarding his dangerous and difficult feats with enthusiastic - applause. - - I like YOUNG PEOPLE very much. The new serial, "Who was Paul - Grayson?" by Mr. Habberton, is excellent. Many of the incidents - remind me of some I myself have witnessed. I remember the - school-boy fights, and the teasing of new scholars. The other - stories are also very interesting, and the jokes are sometimes - capital. I like the cuts very much, and I hope both those and - YOUNG PEOPLE--may it flourish for a long time!--will always remain - as nice as now. - - LOUIS G. E. - - * * * * * - - BALTIMORE, MARYLAND. - - I wish to tell the boys and girls that take this beautiful little - paper about our sesquicentennial, or the one-hundred-and-fiftieth - anniversary of Baltimore. On Monday, October 11, the procession - illustrated the history of Baltimore. In one wagon was an Indian - scene, to represent Indian life. In another wagon was a large - vessel with men in it in early Spanish costume, to represent - Christopher Columbus and his crew. The Corn Exchange had several - wagons, two of which were very amusing--one had a large bull in it, - and the other a great ugly bear, which walked restlessly around the - pole to which it was chained. A florist was represented by a - beautiful garden, with trees, flowers, and grass, and right under - the tree a funny little monkey was tied. It jumped all about, and - looked very cunning, for it was very small. - - Among the tableaux was a representation of Neptune drawn in a - shell by two dragons in the water. Of course it was not real - water, but it looked exactly like waves. At the other end of this - wagon was a mermaid, half out of water. It was a very beautiful - scene. Every trade was on parade, and some were working in their - wagons. The butchers were making sausages, and throwing them to - the people, and the bakers threw cakes and biscuit. The procession - was ten miles long, and it was five hours passing a given point. - - On Tuesday all the different societies, and the public and private - school children, were on parade. All the houses and stores and - public buildings were decorated with black and orange--the colors - of Maryland--and with the American flag. The city looked very - bright and beautiful. I am very proud of being a Baltimore girl. I - am thirteen years old. - - JESSIE H. L. - - * * * * * - - COOPERSBURG, KANSAS. - - The first thing I read when my little paper comes is the - Post-office Box. I live on a big prairie. I have a pet kitty, and - lots of chickens and turkeys. - - ADELLA T. - - * * * * * - - BAY CITY, MICHIGAN. - - I wish some little girl would give me a good recipe for - johnny-cake. My father has offered a prize to my sister and myself - for the best johnny-cake. - - MARY G. - - * * * * * - - COUNCIL BLUFFS, IOWA. - - I have taken YOUNG PEOPLE since my seventh birthday, which was the - 15th of March. I like it very much, and I want papa to take it - another year. I like the "Story of George Washington." - - I have two little brothers, Fred and Walter. Fred is four years - old, and goes to a Kindergarten. Walter and I go to the public - school. We have a velocipede and a rocking-horse, but no live - pets. - - LOUIS EDWIN E. - - * * * * * - - GRANVILLE, WISCONSIN. - - I take YOUNG PEOPLE, and I like it very much indeed. - - My brother Allie and I are raising two calves. Their names are - Rosa and Jim, and now when we call them they will come running. - - The other day I found some very pretty stones. I carried them in - the house and put them in a tumbler filled with water, and set - them in the sun. If any little girl wishes to do this, a - large-mouthed bottle will answer as well as a tumbler; and if the - stones have bright, pretty colors, and there are some arrow flints - scattered among them, the effect when the sun shines on them is - very beautiful. - - ROSE C. - - * * * * * - - NEW YORK CITY. - - Mamma, Georgie, and Frank went fishing down to the Point yesterday, - and Georgie caught two smelts and a crab. Frank also caught two - smelts, but while they were in the basket a crow came along, and - took them both off. - - JAKIE T. - - * * * * * - - LAKE VIEW, ILLINOIS. - - I am a little girl nine years old, and I enjoy YOUNG PEOPLE very - much. - - I have a great many dolls, and I have a pet parrot that is very - fond of me. He can not talk very much, but he will learn. I had a - pet cat, but it got lost. - - GRACE D. C. - - * * * * * - - COLLAMER, NEW YORK. - - I am taking YOUNG PEOPLE, and I am delighted with it. - - I have two pet cats, and I have some house plants. This summer - there were some small insects at work on their roots. I wish some - one could tell me what they were. - - I am taking music lessons, and like to practice very much. - - I have quite a large collection of birds' eggs. - - BERTHA G. M. - - * * * * * - - PREAKNESS, NEW JERSEY. - - I have three old rabbits and two young ones. I used to have - twenty-six, but I sold some and lost some. Rabbits have very - interesting habits. Sometimes they sit up on their hind-feet and - wash their faces with their fore-feet. - - I am trying to make a fresh-water aquarium. I had a fresh-water - lobster, two lizards, and some minnows, but they all died. Can you - tell me how to take better care of them? - - JUDSON S. T. - -We can not give you any fuller directions than are contained in the -papers on aquaria in YOUNG PEOPLE, Nos. 42 and 43. - - * * * * * - - MAYERSVILLE, MISSISSIPPI. - - I have never written to the Post-office before, but now I wish to - say how very much I like this valuable little paper. I only - commenced taking it myself with No. 41, but before that I borrowed - it from a friend. I can not tell you how much I enjoy it. I believe - I liked the story called "Moonshiners" best of all. - - I live on the Mississippi River in a very pretty little town. - - GERTRUDE P. - - * * * * * - - PHILADELPHIA, PENNSYLVANIA. - - I am so much obliged to YOUNG PEOPLE for all the stories and poems. - - I wish all the children could see my parrot. She is the wonder of - the age. Every one that comes to our house is convulsed with - laughter at her laughing, crying, singing, and talking. She is - very impudent; and after imitating any one, which she does - capitally, she will roar with laughter, and cry out, "Oh, Polly, - how funny!" Sometimes she swears. Then she laughs again, and - cries, "Oh, you bad Polly!" - - Will you tell me of some books of fairy tales for older children? - I think the story of "Photogen and Nycteris" was lovely. - - MAY. - -There are a great many books of fairy tales which even grown-up children -enjoy very much. _The Rose and the Ring_, by Thackeray, is delightful. -Miss Johnson's _Catskill Fairies_, relating how they amused a little boy -who was blocked in by a snow-storm, is a very fascinating book. Then -there are the fairy-books of Laboulaye and Macé, _Puss-Cat Mew_, _Queer -Folks_, _Tales at Tea-Time_, and other books by Knatchbull-Hugessen. -_Alice in Wonderland_ is also very entertaining; for although it is the -most absurd nonsense ever written, we pity the person too old to enjoy -it. _The Snow-Queen_, and other fairy tales by Hans Christian Andersen, -are charming books for readers of any age. - - * * * * * - - ACCORD, NEW YORK. - - The Post-office is a mile and a half away from where I live, but I - get YOUNG PEOPLE every Tuesday, and I can hardly wait for it. I - learn ever so much from it. - - I have a little brother Henry, four years old, and a little sister - Eleanor, who is ten months. She is a great pet. My papa has two - mills here, and he is very busy, but he devotes a great deal of - time to our comfort and enjoyment. - - MOLLY C. D. - - * * * * * - - NEW YORK CITY. - - I have seen so very many letters about pets in the Post-office Box - that I thought I would write the story of a poor, lone, forlorn - chicken a friend of mine had. - - This chicken was orphaned and thrown upon the tender mercies of - this world at the tender age of two days. Jet discovered it, and - brought it into the house. She fed it, and every night wrapped it - up in a flannel rag, and put it into a snug corner near the stove, - and took it out again in the morning. At last it grew so large Jet - considered it in the way, so one night she took it out to roost - with the other fowls on the grape-vine trellis. The next day Jet - found her Majesty waiting to be fed as usual, and every night she - had to lift her up on to the trellis. This continued about a - month, when Jet's patience gave way, and the poor chicken was - beheaded. - - I enjoy YOUNG PEOPLE very much indeed. The stories I have liked - the most are "Photogen and Nycteris," the series by "Jimmy Brown," - Bessie Maynard's long-worded letters to her doll, and "Who was - Paul Grayson?" - - BERSIA. - - * * * * * - - I have a collection of twelve hundred and fifty postage and revenue - stamps, and I would like to exchange with readers of YOUNG PEOPLE - residing in Newfoundland, Nova Scotia, Prince Edward Island, or in - any part of Canada. Correspondents will please give the number of - stamps in their collection. - - H. A. BLAKESLEY, - 54 West Eighth Street, Topeka, Kansas. - - * * * * * - - I have no pets, but I have the dearest little brother that ever - lived, and I am going to have a present of a kitty. I like "The - Moral Pirates" and "Who was Paul Grayson?" very much. - - I will gladly exchange flower seeds with Grace Denton, as I live - very far West. - - LAURA C. MARSHALL, Greeley, Colorado. - - * * * * * - - We have been pressing a great many autumn leaves and ferns, and - would be glad to exchange them for flower seeds with any of the - readers of YOUNG PEOPLE. Correspondents will please mark the name - plainly on each package of seed. - - BESSIE G. and ELIZA B. BARTLETT, - Greensburg, Green County, Kentucky. - - * * * * * - - I have a collection of postage stamps, and would like to exchange - with Harry Gustin, Eddie De Lima, Horace C. Foote, or with any - other readers of YOUNG PEOPLE. Correspondents will please send a - list of stamps they have to exchange, and of those they would like - in return. - - E. M. DEVOE, P. O. Box 159, Mount Vernon, - Westchester County, New York. - - * * * * * - - Will "Wee Tot," or some other subscriber to YOUNG PEOPLE, send me - some sea-shells in exchange for feathers of the white crane and of - some other wild birds? I have also a petrified buffalo's tooth - which I will exchange for shells or quartz. - - THEODORE PATCHEN, - Herman, Grant County, Minnesota. - - * * * * * - - I am collecting stamps, postmarks, and shells. I have to exchange a - good many Greek stamps and some shells. - - ANDREW GUNARI, - Care of P. Gunari, New Rochelle, New York. - - * * * * * - - I enjoy knitting lace very much, but I would like some new - patterns. I have two that are wide, the oak-leaf and Normandy, and - one that is narrow and very easy. I will be glad to exchange any of - these for something new. - - A class of the pupils in this school have just listened to "The - Moral Pirates," and enjoyed it very much. - - ALICE C. LITTLE, - Institution for the Blind, Janesville, Wisconsin. - - * * * * * - - I would like to exchange postage stamps with any of the readers of - this interesting paper. I have some very rare stamps to exchange. - - FRANK F. RICE, - 109 East Seventy-ninth Street, New York City. - - * * * * * - - I like to read the letters in HARPER'S YOUNG PEOPLE. - - I have three kittens, and a canary which is very tame. I go to - school, and am taking drawing lessons. - - I will exchange postage stamps with any of the correspondents of - YOUNG PEOPLE. I am ten years old. - - ARLINE M. SKIFF, - 37 College Street, New Haven, Connecticut. - - * * * * * - - I would like to exchange eggs, copper ore, postmarks, and stamps - for coins or Indian relics. - - S. B. FOSTER, Knowlton, P. Q., Canada. - - * * * * * - -HENRY R. H.--Yale College was chartered in 1701, and in the autumn of -that same year the school was opened in Saybrook, Connecticut. It was -removed to New Haven in 1716. In the first years of its existence it was -known as "The Collegiate School of Connecticut," but in 1718 the name -was changed to Yale College, as a recognition of gifts of valuable books -and considerable sums of money from Elihu Yale, who was a native of New -Haven, but who left his birth-place when a boy, and resided all his life -in either London or India. He amassed great wealth, and was for some -time Governor of the East India Company. He died in London in 1721. - - * * * * * - -LEWIS D.--In early numbers of the Post-office Box, especially in No. 5, -are directions for the care of a pet tortoise. And in YOUNG PEOPLE No. -27, in the article entitled "A Letter from a Land Turtle," you will find -interesting facts about the habits of these creatures. - - * * * * * - -ROBERT G. S.--Rabbits, as a rule, obtain all the moisture they require -from the leaves of lettuce, cabbage, and other succulent plants upon -which they feed. They like bread or cracker soaked in milk, and we have -known rabbits that would drink water, but it is not supposed to be -required by the little beasts when they are in a healthy state. - - * * * * * - -MINNIE W.--Vancouver Island was named from Captain George Vancouver, a -British naval officer, who accompanied Captain Cook in his first and -second voyages round the world. In 1790 he was put in command of a small -squadron, and sent to take possession of the Nootka region, then in the -hands of the Spaniards. The island which now bears his name was -surrendered to him by the Spanish commandant Quadra in 1792. Vancouver -was instructed by the English government to institute a search for a -northern water connection between the Atlantic and Pacific oceans after -taking possession of Nootka, but he was unable to discover what many -navigators before and after him sought for in vain. It was not until -1850 that the Northwest Passage was finally discovered by Sir Robert -McClure. Captain Vancouver died in England in 1798. - - * * * * * - -JENNIE C. A.--The cover for YOUNG PEOPLE is strong, and very prettily -ornamented. It is not self-binding, but any book-binder will put it on -for you for a small charge. See answer to C. B. M. in Post-office Box of -YOUNG PEOPLE No. 53. - - * * * * * - -DUDLEY.--The standard value of the foreign coins about which you inquire -is subject to slight variation in the United States, but as used in the -computation of customs duties on January 1, 1880, it was as follows: -Chilian peso, or dollar, ninety-one cents; Peruvian dollar, eighty-three -cents; Norwegian crown, twenty-six cents; India rupee of sixteen annas, -thirty-nine cents; Brazilian milreis of one thousand reis, fifty-four -cents; Austrian florin, forty-one cents; German mark, twenty-three -cents; Turkish piaster, four cents; Italian lira, nineteen cents; -Russian ruble of one hundred copecks, sixty-six cents. We have not given -the fractions of a cent, which in business transactions are added to the -above amounts, for as you are simply a coin collector, we do not think -you will require them.--The Spanish silver "quarter," the "elevenpence," -worth twelve and a half cents, and the "fi'penny-bit," worth six and a -quarter cents, were in general circulation in the United States, -especially in the West, about forty years ago. These coins were marked -by the two pillars of the Spanish coat of arms, between them the two -castles and two lions rampant of Castile in a shield surmounted by a -crown. - - * * * * * - -"YOUNG SAILOR."--The first light-house of which there is any record in -history was built by Ptolemy Philadelphus about 300 B.C. It was a tower -on which wood fires were kept blazing at night. It was built on Pharos, -a small island in the bay of Alexandria, and was one of the Seven -Wonders of the World. It is an interesting fact that the modern French -and Spanish names for light-house--the one being _phare_, the other -_faro_--still preserve the memory of the island where the first attempt -at sea-coast illumination was located. The ruined tower in Dover Castle, -England, erected about A.D. 44, is claimed by some authorities to have -been built for a light-house, upon which an enormous wood fire was kept -burning. - -The light-house on the southern end of the island of Conanicut, at the -mouth of Narragansett Bay, is said to be the oldest in the United -States. The present structure is comparatively modern, but the first one -was erected in 1750, and for nearly one hundred years previous a -watch-tower with a beacon fire had existed at the same point. - -This light-house bears the odd name of Beaver Tail. The southern portion -of Conanicut Island is shaped something like a beaver, with its tail -pointing southward, and in early times it was known by that name, the -two extremities being called head and tail. - -Previous to 1789 the few light-houses existing in the United States were -maintained by the States in which they were situated, but from that date -the expense was assumed by the general government, and in 1791 the first -light-house under the new law was erected at Cape Henry. There are now -nearly six hundred and fifty light-houses, lighted beacons, and -light-ships on the coast and waters of the United States. - - * * * * * - -JACK NEMO.--If you paid a year's subscription to YOUNG PEOPLE, you will -receive your paper until January, 1881. Subscriptions may begin with any -number, and the paper will be sent the length of time for which the -subscription is taken, without reference to the beginning or close of a -volume. - - * * * * * - -Favors are acknowledged from Frank L. L., Joseph Henry C., S. V. B., -A. R. Reeves, Lloyd Elliot, "Bo-Peep," Mary Burns, Hattie Venable, -Bertha M. Hubbard, Nellie M. S., Amy L. O. - - * * * * * - -Correct answers to puzzles are received from Nellie Brainard, Jennie C. -Ridgway, "Jupiter," G. Dudley Kyte, A. H. Ellard, Alfred C. P. Opdyke, -George M. Finckel, G. Volckhausen. - - * * * * * - -ANSWERS TO PUZZLES IN NO. 51. - -No. 1. - - C-hestnut. - E-lm. - D-ogwood. - A-sh. - R-ose-wood. - -No. 2. - - B H - F L Y D O E - B L O O D - H O U N D - Y O N E N D - D D - -No. 3. - - I R I S R A C E - R O S E A C I D - I S L E C I T E - S E E R E D E N - -No. 4. - -Lemon. - -No. 5. - - P A R T N E R - G O R G E - F E E - N - A T E - S T O I C - L E O N A R D - -PUZZLES FROM YOUNG CONTRIBUTORS. - -No. 1. - -DIAMOND--(_To Bolus_). - -1. A letter. 2. To loiter. 3. A plant. 4. The kingfisher. 5. Merrily. 6. -Shy. 7. A letter. - - ZELOTES. - - * * * * * - -No. 2. - -EASY SQUARES. - -1. First, an easy seat. Second, to unfold. Third, measures. Fourth, -insects. - - S. F. W. - -2. First, a quantity of wood. Second, scent. Third, a girl's name. -Fourth, a cart. - - C. H. MCB. - - * * * * * - -No. 3. - -HOUR-GLASS PUZZLE--(_To Zelotes_). - -A city in Great Britain. A city in India. A city in Switzerland. A lake -in Scotland. A letter. A city in Germany. A city in France. A city in -Russia. A city in Asia. Centrals read downward spell the name of a port -on the Mediterranean Sea. - - OWLET. - - * * * * * - -No. 4. - -ENIGMA. - - My first is in Paris, but not in the Seine. - My second in simple, but not in fool. - My third is in Frankfort, but not in the Main. - My fourth is in labor, but not in tool. - My fifth is in trouble, but not in grief. - My sixth is in fortune, but not in fate. - My seventh is in robber, but not in thief. - My eighth is in malice, but not in hate. - My ninth is in gymnasium, furnished with ropes and bars. - The secret of my whole is hid in sun and moon and stars. - - TOM. - - * * * * * - -CHARACTER TREES. - - 1. What is the sociable tree? - 2. The tree where ships ride? - 3. The languishing tree? - 4. The chronologist's tree? - 5. The fisherman's tree? - 6. The tree warmest clad? - 7. The tree that fights? - 8. The housewife's tree? - 9. The lazy tree? - 10. The dandy's tree? - 11. The tree that supplies wants? - 12. The tree that invites to travel? - 13. The tree that forbids to die? - 14. The tree always near in billiards? - 15. The Egyptian plague tree? - 16. The tree in a bottle? - 17. The tree in a fog? - 18. The busiest tree? - 19. The most yielding tree? - 20. Tree neither up nor down hill? - 21. The tree nearest the sea? - 22. The tree that binds ladies' feet? - 23. The tree cockneys make into wine? - 24. Tree that warms cold meat? - 25. Tree offered to friends when we meet? - 26. The treacherous tree? - - - - -THROWING LIGHT. - -BY E. MASON. - - -I am white, I am black, I am all colors save blue, green, and purple, -and all lengths, yet when I am grown I am of uniform size. I run with -great swiftness, but have no motion of my own; am carried round by my -possessor, and worn according to the taste of my owner. I don't know how -I can be worn, though the outer covering of me is put to some use, I -believe. I am very hard to tame, though gentle and timid, yet I submit -to being pulled, tied, cut, dressed, burned, without rebelling; in fact, -I might be called inanimate, though I never cease growing; but the truth -is, in a year I attain my full growth. - -I am excellent eating, and esteemed a delicacy, yet should I make my -appearance in the food of a delicate person, or even of anybody, disgust -would certainly ensue. I can be dressed according to fancy, though there -is but one way of cooking me; still, I do not need cooking, except when -taken from my natural place: then I am baked to preserve me; but I am -only cooked to be eaten, not preserved; and as to dressing me, my -garment must be taken off before I can be made palatable, and that I -never am, for I can't be chewed or swallowed, though lovers of me -declare me to be a toothsome morsel. - -Men hunt and persecute me, yet they do not like to be without me, and -are very apt to feel when I leave them that it is a sign of age. I can -belong to people in two ways--either by inheritance or by purchase; when -in the latter manner, every one tries to conceal the fact, and pretend -that I am a gift of nature, though extravagant sums are paid for me, as -there are fashions in me in color, and I am often dyed, though that -process would render me worthless and unmarketable. - -Soft and silky, fine and coarse, harsh and wiry, of a sleek coat, -running on four legs, having no legs at all, capable of suffering and -being killed, a theme for poets, having no feeling of pain, yet dying, I -am a part of man, yet an animal. - - - - -HARPER'S YOUNG PEOPLE. - - -SINGLE COPIES, 4 cents; ONE SUBSCRIPTION, one year, $1.50; FIVE -SUBSCRIPTIONS, one year, $7.00--_payable in advance, postage free_. - -The Volumes of HARPER'S YOUNG PEOPLE commence with the first Number in -November of each year. - -Subscriptions may begin with any Number. When no time is specified, it -will be understood that the subscriber desires to commence with the -Number issued after the receipt of the order. - -Remittances should be made by POST-OFFICE MONEY-ORDER OR DRAFT, to avoid -risk of loss. - -Volume I., containing the first 52 Numbers, handsomely bound in -illuminated cloth, $3.00, postage prepaid: Cover for Volume I., 35 -cents; postage, 13 cents additional. - - HARPER & BROTHERS, - Franklin Square, N. Y. - - - - -[Illustration: TWO MOTHERS. - -NELLIE. "Annie, the season has commenced, and we must fix up our -children's party dresses."] - - - - -THE WONDERFUL DRAWING LESSON. - -BY G. B. BARTLETT. - - -Many years ago a very funny pantomime was performed by the Ravels, or -some other talented actors, that astonished every one who saw it, and no -one could guess how it was done. We propose first to give a sketch of -the action of the scene, and then to describe a very simple manner of -doing the trick upon which it depends. By careful attention to the -description any boy can prepare it in a few hours in such a way that it -can be often used for home and hall, and will give as much pleasure in -preparation as in performance. The pantomime requires an old man, an old -woman, and a stupid boy--the latter it is often easy to find in any -family. The old parts can be assumed by young people, as they can be -made venerable by powdering their hair with flour. They must borrow -their grandfather's and grandmother's clothes, if possible, but the boy -can wear an old dressing-gown, and the girl a long skirt trained over -her own dress, looped up at the sides with bows of ribbon; she should -have an old-fashioned bonnet, or a broad hat tied down to resemble one, -a kerchief, and a cane. The boy should borrow a suit of a smaller boy -that is too short and tight for him, and should brush his hair down over -his eyes, and wear a paper ruffle around his neck. The boy who wears the -dressing-gown or old dress-coat should also have a palette, brush, a -piece of chalk, and some other artistic implements with which to -decorate the room, which can be very prettily arranged if for a public -performance. The most conspicuous object is a large blackboard, standing -on the floor at the rear of the room, behind which another boy is -concealed, and upon which all the mystery depends. The artist is -discovered walking around the room in a nervous manner, as if expecting -a pupil. A knock is heard, and he admits the lady, who salutes him with -an old-fashioned bow in response to those with which he greets her. She -leads in the boy by the hand, who hangs back, as if very bashful. She -puts her hand behind the boy's head, and compels him to bow to the -artist, of whom he seems afraid. - -The mother consoles him, and persuades him to look at some pictures -which the artist shows him. The boy expresses great interest, and the -artist points to the blackboard, as if offering to teach him to draw. -The boy seems eager to begin, and seizes a piece of chalk from the -table. The artist takes the chalk from him, and pats the palm of his -left hand with three fingers of his right, to signify that he wants some -money. The mother pays very unwillingly, and the artist keeps demanding -more, until she shakes her head very forcibly, and points to the board, -as if refusing to pay any more money unless she is satisfied with her -son's progress in art. - -The boy is then furnished with chalk, and the artist holds up a pattern -before him, and points from it to the board. The boy slowly draws the -face of a man on the top of the board, near the centre. The mother seems -much pleased, and claps her hands, in delight. The boy goes on with his -work, and finishes the body, with the arms extended, and the artist then -demands, more money, which the mother refuses, when the arms which have -just been drawn move up and down with violent gestures, and the mother -becomes so much alarmed that she pays him, and the arms then remain -still. The boy goes on with his work, and draws the two legs of the -figure, which is supposed to be facing the audience. - -At the completion of the work the mother and boy contemplate it with -wonder and delight, and the artist renews his demand for more money, -which the old lady refuses. The right leg then kicks out violently, the -other does the same toward the left, the arms go up and down, and the -chalk man thus appears to be alive, and to be dancing a jig, as the -movements of the legs and arms increase in speed, although they can only -swing up and down on the board. The mother and son hold up their hands -as if struck with horror, and the former rushes out of the room, pulling -the boy by the arm. The artist follows, demanding more money, and the -curtain falls. - -The blackboard is made of any smooth board painted; the arms and legs of -the figure are cut out in outline of common pasteboard, and are fastened -to the blackboard by a peg, upon which their weight is balanced, and -upon which they move. The limbs are moved by means of bits of black -thread attached to them, and passing through small holes in the board to -the boy behind it. They are fastened on after the board has been -painted, and the whole is made of a uniform dull black with common -paint, so it does not show when the light is between it and the -spectators. - -The boy may make the figure of the man in any style, taking care only to -match it to the limbs, the outline of which he draws on the edges of the -pasteboard profiles. A little practice will enable the performers to -arrange animals and other figures on the same plan, to the delight of -themselves and their friends. - - - - -[Illustration: OPENING OF THE FALL HUNTING SEASON--LITTLE TOMMY'S -NIGHTMARE AFTER A BUSY DAY SETTING RABBIT SNARES.] - - - - - -End of Project Gutenberg's Harper's Young People, November 9, 1880, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE *** - -***** This file should be named 43357-8.txt or 43357-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/3/5/43357/ - -Produced by Annie R. McGuire - -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 - www.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 MERCHANTABILITY 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 information page at www.gutenberg.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. 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 -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.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 forty 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: - - 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/43357-8.zip b/43357-8.zip Binary files differdeleted file mode 100644 index d81906b..0000000 --- a/43357-8.zip +++ /dev/null diff --git a/43357-h.zip b/43357-h.zip Binary files differdeleted file mode 100644 index a6fd005..0000000 --- a/43357-h.zip +++ /dev/null diff --git a/43357-h/43357-h.htm b/43357-h/43357-h.htm index 7ec8717..72802de 100644 --- a/43357-h/43357-h.htm +++ b/43357-h/43357-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Harper's Young People, November 9, 1880, by Various. @@ -99,42 +99,7 @@ table { </style> </head> <body> - - -<pre> - -Project Gutenberg's Harper's Young People, November 9, 1880, by Various - -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: Harper's Young People, November 9, 1880 - An Illustrated Monthly - -Author: Various - -Release Date: July 30, 2013 [EBook #43357] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE *** - - - - -Produced by Annie R. McGuire - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43357 ***</div> <p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> @@ -1354,7 +1319,7 @@ tremblingly approaching a man who was pushing round some trunks.</p> <p>"Bless you! you're at the wrong station for that, sissy or bubby, whichever you be," said the man, glancing from the girl's dress to the boy's cap. "But there," added he, as the brown eyes filled with tears, -"a gravel train's just going across the city to the Eastern Dépôt. Come +"a gravel train's just going across the city to the Eastern Dépôt. Come with me, and I'll take you there."</p> <p>Down the track Elsie rode, perched on a heap of gravel.</p> @@ -1373,7 +1338,7 @@ earnest. She had been called a "tramp" last night; now she was taken for a thief. It was too dreadful. She looked here and there, if perchance there might be some way of escape from all this misery, and suddenly—why!—what?—that boy on the platform of the Eastern -Dépôt—could it be?</p> +Dépôt—could it be?</p> <p>"Joe! Joe!" shrieked Elsie.</p> @@ -1908,7 +1873,7 @@ I think the story of "Photogen and Nycteris" was lovely.</p></blockquote> enjoy very much. <i>The Rose and the Ring</i>, by Thackeray, is delightful. Miss Johnson's <i>Catskill Fairies</i>, relating how they amused a little boy who was blocked in by a snow-storm, is a very fascinating book. Then -there are the fairy-books of Laboulaye and Macé, <i>Puss-Cat Mew</i>, <i>Queer +there are the fairy-books of Laboulaye and Macé, <i>Puss-Cat Mew</i>, <i>Queer Folks</i>, <i>Tales at Tea-Time</i>, and other books by Knatchbull-Hugessen. <i>Alice in Wonderland</i> is also very entertaining; for although it is the most absurd nonsense ever written, we pity the person too old to enjoy @@ -2557,379 +2522,6 @@ themselves and their friends.</p> NIGHTMARE AFTER A BUSY DAY SETTING RABBIT SNARES.</span> </div> - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Harper's Young People, November 9, 1880, by Various - -*** END OF THIS PROJECT GUTENBERG EBOOK HARPER'S YOUNG PEOPLE *** - -***** This file should be named 43357-h.htm or 43357-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/3/5/43357/ - -Produced by Annie R. McGuire - -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 - www.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 MERCHANTABILITY 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 information page at www.gutenberg.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. 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 -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.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 forty 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: - - 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> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 43357 ***</div> </body> </html> diff --git a/43357.zip b/43357.zip Binary files differdeleted file mode 100644 index 42851f3..0000000 --- a/43357.zip +++ /dev/null |