diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-08 06:24:40 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-08 06:24:40 -0800 |
| commit | 07a591b201b740694d6d9d4e1196f0364a3609c5 (patch) | |
| tree | 7054674d9812acde34f5e9a119494b5d02d146a8 | |
| parent | e3f4441c19d06835e65ac967a5572fc711b81c1f (diff) | |
| -rw-r--r-- | 43832-0.txt (renamed from 43832.txt) | 396 | ||||
| -rw-r--r-- | 43832-8.txt | 3111 | ||||
| -rw-r--r-- | 43832-8.zip | bin | 45812 -> 0 bytes | |||
| -rw-r--r-- | 43832-h.zip | bin | 540495 -> 0 bytes | |||
| -rw-r--r-- | 43832-h/43832-h.htm | 425 | ||||
| -rw-r--r-- | 43832.zip | bin | 45793 -> 0 bytes |
6 files changed, 7 insertions, 3925 deletions
@@ -1,37 +1,4 @@ -Project Gutenberg's Our Little German Cousin, by Mary Hazelton Wade - -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: Our Little German Cousin - -Author: Mary Hazelton Wade - -Illustrator: L. J. Bridgman - -Release Date: September 28, 2013 [EBook #43832] - -Language: English - -Character set encoding: ASCII - -*** START OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE GERMAN COUSIN *** - - - - -Produced by Emmy, Beth Baran and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - +*** START OF THE PROJECT GUTENBERG EBOOK 43832 *** [Transcriber's Note: Bold text is surrounded by =equal signs= and italic text is surrounded by _underscores_.] @@ -2476,7 +2443,7 @@ The story tells of a young lad in Colonial times who endeavored to carry out the high ideals of the knights of olden days. -_By OUIDA (Louise de la Ramee)_ +_By OUIDA (Louise de la Ramée)_ =A Dog of Flanders:= A CHRISTMAS STORY. @@ -2751,361 +2718,4 @@ Obvious punctuation errors repaired. End of Project Gutenberg's Our Little German Cousin, by Mary Hazelton Wade -*** END OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE GERMAN COUSIN *** - -***** This file should be named 43832.txt or 43832.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/8/3/43832/ - -Produced by Emmy, Beth Baran and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -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 43832 *** diff --git a/43832-8.txt b/43832-8.txt deleted file mode 100644 index a8141a0..0000000 --- a/43832-8.txt +++ /dev/null @@ -1,3111 +0,0 @@ -Project Gutenberg's Our Little German Cousin, by Mary Hazelton Wade - -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: Our Little German Cousin - -Author: Mary Hazelton Wade - -Illustrator: L. J. Bridgman - -Release Date: September 28, 2013 [EBook #43832] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE GERMAN COUSIN *** - - - - -Produced by Emmy, Beth Baran and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -[Transcriber's Note: Bold text is surrounded by =equal signs= and -italic text is surrounded by _underscores_.] - - - -Our Little German Cousin - - - - -THE - -Little Cousin Series - -(TRADE MARK) - - Each volume illustrated with six or more full-page plates in - tint. Cloth, 12mo, with decorative cover, - per volume, 60 cents - -LIST OF TITLES - -BY MARY HAZELTON WADE - -(unless otherwise indicated) - - =Our Little African Cousin= - - =Our Little Alaskan Cousin= - By Mary F. Nixon-Roulet - - =Our Little Arabian Cousin= - By Blanche McManus - - =Our Little Armenian Cousin= - - =Our Little Brazilian Cousin= - By Mary F. Nixon-Roulet - - =Our Little Brown Cousin= - - =Our Little Canadian Cousin= - By Elizabeth R. Macdonald - - =Our Little Chinese Cousin= - By Isaac Taylor Headland - - =Our Little Cuban Cousin= - - =Our Little Dutch Cousin= - By Blanche McManus - - =Our Little English Cousin= - By Blanche McManus - - =Our Little Eskimo Cousin= - - =Our Little French Cousin= - By Blanche McManus - - =Our Little German Cousin= - - =Our Little Hawaiian Cousin= - - =Our Little Hindu Cousin= - By Blanche McManus - - =Our Little Indian Cousin= - - =Our Little Irish Cousin= - - =Our Little Italian Cousin= - - =Our Little Japanese Cousin= - - =Our Little Jewish Cousin= - - =Our Little Korean Cousin= - By H. Lee M. Pike - - =Our Little Mexican Cousin= - By Edward C. Butler - - =Our Little Norwegian Cousin= - - =Our Little Panama Cousin= - By H. Lee M. Pike - - =Our Little Philippine Cousin= - - =Our Little Porto Rican Cousin= - - =Our Little Russian Cousin= - - =Our Little Scotch Cousin= - By Blanche McManus - - =Our Little Siamese Cousin= - - =Our Little Spanish Cousin= - By Mary F. Nixon-Roulet - - =Our Little Swedish Cousin= - By Claire M. Coburn - - =Our Little Swiss Cousin= - - - (_In Preparation_) - - =Our Little Australian Cousin= - - - L. C. PAGE & COMPANY - New England Building, Boston, Mass. - -[Illustration: BERTHA.] - - - - -Our Little German Cousin - - By - Mary Hazelton Wade - - _Illustrated, by_ - L. J. Bridgman - -[Illustration] - - Boston - L. C. Page & Company - _PUBLISHERS_ - - - - - _Copyright, 1904_ - BY L. C. PAGE & COMPANY - (INCORPORATED) - - - _All rights reserved_ - - - THE LITTLE COUSIN SERIES - (_Trade Mark_) - - - Published June, 1904 - Fifth Impression, October, 1907 - - - Colonial Press - Electrotyped and Printed by C. H. Simonds & Co. - Boston, Mass., U. S. A. - - - - -Preface - - -WHEN the word Germany comes to our minds, we think at once of ruined -castles, fairies, music, and soldiers. Why is it? - -First, as to the castles. Here and there along the banks of the River -Rhine, as well as elsewhere throughout the country, the traveller is -constantly finding himself near some massive stone ruin. It seems ever -ready to tell stories of long ago,--of brave knights who defended its -walls, of beautiful princesses saved from harm, of sturdy boys and -sweet-faced girls who once played in its gardens. For Germany is the -home of an ancient and brave people, who have often been called upon to -face powerful enemies. - -Next, as to the fairies. It seems as though the dark forests of -Germany, the quiet valleys, and the banks of the beautiful rivers, -were the natural homes of the fairy-folk, the gnomes and the elves, the -water-sprites and the sylphs. Our German cousins listen with wonder and -delight to the legends of fearful giants and enchanted castles, and -many of the stories they know so well have been translated into other -languages for their cousins of distant lands, who are as fond of them -as the blue-eyed children of Germany. - -As to the music, it seems as though every boy and girl in the whole -country drew in the spirit of song with the air they breathe. They sing -with a love of what they are singing, they play as though the tune were -a part of their very selves. Some of the finest musicians have been -Germans, and their gifts to the world have been bountiful. - -As for soldiers, we know that every man in Germany must stand ready to -defend his country. He must serve his time in drilling and training -for war. He is a necessary part of that Fatherland he loves so dearly. - -Our fair-haired German cousins are busy workers and hard students. -They must learn quite early in life that they have duties as well as -pleasures, and the duties cannot be set aside or forgotten. But they -love games and holidays as dearly as the children of our own land. - - - - -Contents - - - CHAPTER PAGE - I. CHRISTMAS 1 - II. TOY-MAKING 10 - III. THE WICKED BISHOP 23 - IV. THE COFFEE-PARTY 40 - V. THE BEAUTIFUL CASTLE 48 - VI. THE GREAT FREDERICK 60 - VII. THE BRAVE PRINCESS 71 - VIII. WHAT THE WAVES BRING 83 - IX. THE MAGIC SWORD 94 - - - - -List of Illustrations - - - PAGE - BERTHA _Frontispiece_ - BERTHA'S FATHER AND MOTHER 11 - THE RATS' TOWER 28 - COURTYARD OF HEIDELBERG CASTLE 52 - STATUE OF FREDERICK THE GREAT 63 - BERTHA'S HOME 83 - - - - -Our Little German Cousin - - - - -CHAPTER I. - -CHRISTMAS - - -"DON'T look! There, now it's done!" cried Bertha. - -It was two nights before Christmas. Bertha was in the big living-room -with her mother and older sister. Each sat as close as possible to the -candle-light, and was busily working on something in her lap. - -But, strange to say, they did not face each other. They were sitting -back to back. - -"What an unsociable way to work," we think. "Is that the way Germans -spend the evenings together?" - -No, indeed. But Christmas was near at hand, and the air was brimful of -secrets. - -Bertha would not let her mother discover what she was working for her, -for all the world. And the little girl's mother was preparing surprises -for each of the children. All together, the greatest fun of the year -was getting ready for Christmas. - -"Mother, you will make some of those lovely cakes this year, won't -you?" asked Bertha's sister Gretchen. - -"Certainly, my child. It would not be Christmas without them. Early -to-morrow morning, you and Bertha must shell and chop the nuts. I will -use the freshest eggs and will beat the dough as long as my arms will -let me." - -"Did you always know how to make those cakes, mamma?" asked Bertha. - -"My good mother taught me when I was about your age, my dear. You may -watch me to-morrow, and perhaps you will learn how to make them. It is -never too early to begin to learn to cook." - -"When the city girls get through school, they go away from home and -study housekeeping don't they?" asked Gretchen. - -"Yes, and many girls who don't live in cities. But I hardly think you -will ever be sent away. We are busy people here in our little village, -and you will have to be contented with learning what your mother can -teach you. - -"I shall be satisfied with that, I know. But listen! I can hear father -and Hans coming." - -"Then put up your work, children, and set the supper-table." - -The girls jumped up and hurriedly put the presents away. It did not -take long to set the supper-table, for the meals in this little home -were very simple, and supper was the simplest of all. A large plate of -black bread and a pitcher of sour milk were brought by the mother, and -the family gathered around the table. - -The bread wasn't really black, of course. It was dark brown and very -coarse. It was made of rye meal. Bertha and Gretchen had never seen any -white bread in their lives, for they had never yet been far away from -their own little village. Neither had their brother Hans. - -They were happy, healthy children. They all had blue eyes, rosy cheeks, -and fair hair, like their father and mother. - -"You don't know what I've got for you, Hans," said Bertha, laughing and -showing a sweet little dimple in her chin. - -Hans bent down and kissed her. He never could resist that dimple, and -Bertha was his favourite sister. - -"I don't know what it is, but I do know that it must be something -nice," said her brother. - -When the supper-table had been cleared, the mother and girls took -out their sewing again, while Hans worked at some wood-carving. The -father took an old violin from its case and began to play some of the -beautiful airs of Germany. - -When he came to the "Watch on the Rhine," the mother's work dropped -from her hands as she and the children joined in the song that stirs -every German heart. - -"Oh, dear! it seems as though Christmas Eve never would come," sighed -Bertha, as she settled herself for sleep beside her sister. - -It was quite a cold night, but they were cosy and warm. Why shouldn't -they be? They were covered with a down feather bed. Their mother had -the same kind of cover on her own bed, and so had Hans. - -But Christmas Eve did come at last, although it seemed so far off to -Bertha the night before. Hans and his father brought in the bough of a -yew-tree, and it was set up in the living-room. - -The decorating came next. Tiny candles were fastened on all the twigs. -Sweetmeats and nuts were hung from the branches. - -"How beautiful! How beautiful!" exclaimed the children when it was all -trimmed, and they walked around it with admiring eyes. - -None of the presents were placed on the tree, for that is not the -fashion in Germany. Each little gift had been tied up in paper and -marked with the name of the one for whom it was intended. - -When everything was ready, there was a moment of quiet while the -candles were being lighted. Then Bertha's father began to give out the -presents, and there was a great deal of laughing and joking as the -bundles were opened. - -There was a new red skirt for Bertha. Her mother had made it, for she -knew the child was fond of pretty dresses. Besides this, she had a pair -of warm woollen mittens which Gretchen had knit for her. Hans had made -and carved a doll's cradle for each of the girls. - -Everybody was happy and contented. They sang songs and cracked nuts and -ate the Christmas cakes to their hearts' content. - -"I think I like the ones shaped like gnomes the best," said Hans. "They -have such comical little faces. Do you know, every time I go out in the -forest, it seems as though I might meet a party of gnomes hunting for -gold." - -"I like the animal cakes best," said Bertha. "The deer are such -graceful creatures, and I like to bite off the horns and legs, one at a -time." - -"A long time ago," said their father, "they used to celebrate Christmas -a little different from the way we now do. The presents were all -carried to a man in the village who dressed himself in a white robe, -and a big wig made of flax. He covered his face with a mask, and then -went from house to house. The grown people received him with great -honours. He called for the children and gave them the presents their -parents had brought to him. - -"But these presents were all given according to the way the children -had behaved during the year. If they had been good and tried hard, -they had the gifts they deserved. But if they had been naughty and -disobedient, it was not a happy time for them." - -"I don't believe the children were very fond of him," cried Hans. "They -must have been too much afraid of him." - -"That is true," said his father. "But now, let us play some games. -Christmas comes but once a year, and you have all been good children." - -The room soon rang with the shouts of Hans and his sisters. They played -"Blind Man's Buff" and other games. Their father took part in all of -them as though he were a boy again. The good mother looked on with -pleasant smiles. - -Bedtime came only too soon. But just before the children said good -night, the father took Hans one side and talked seriously yet lovingly -with him. He told the boy of the faults he must still fight against. He -spoke also of the improvement he had made during the year. - -At the same time the mother gave words of kind advice to her little -daughters. She told them to keep up good courage; to be busy and -patient in the year to come. - -"My dear little girls," she whispered, as she kissed them, "I love -to see you happy in your play. But the good Lord who cares for us -has given us all some work to do in this world. Be faithful in doing -yours." - - - - -CHAPTER II. - -TOY-MAKING - - -"WAKE up, Bertha. Come, Gretchen. You will have to hurry, for it is -quite late," called their mother. It was one morning about a week after -Christmas. - -[Illustration: BERTHA'S FATHER AND MOTHER.] - -"Oh dear, I am so sleepy, and my bed is nice and warm," thought Bertha. - -But she jumped up and rubbed her eyes and began to dress, without -waiting to be called a second time. Her mother was kind and loving, but -she had taught her children to obey without a question. - -Both little girls had long, thick hair. It must be combed and brushed -and braided with great care. Each one helped the other. They were soon -dressed, and ran down-stairs. - -As soon as the breakfast was over and the room made tidy, every one in -the family sat down to work. Bertha's father was a toy-maker. He had -made wooden images of Santa Claus all his life. His wife and children -helped him. - -When Bertha was only five years old, she began to carve the legs of -these Santa Claus dolls. It was a queer sight to see the little girl's -chubby fingers at their work. Now that she was nine years old, she -still carved legs for Santa Claus in her spare moments. - -Gretchen always made arms, while Hans worked on a still different part -of the bodies. The father and mother carved the heads and finished the -little images that afterward gave such delight to children in other -lands. - -Bertha lives in the Black Forest. That name makes you think at once of -a dark and gloomy place. The woods on the hills are dark, to be sure, -but the valleys nestling between are bright and cheerful when the sun -shines down and pours its light upon them. - -Bertha's village is in just such a valley. The church stands on the -slope above the little homes. It seems to say, "Look upward, my -children, to the blue heavens, and do not fear, even when the mists -fill the valley and the storm is raging over your heads." - -All the people in the village seem happy and contented. They work hard, -and their pay is small, but there are no beggars among them. - -Toys are made in almost every house. Every one in a family works on the -same kind of toy, just as it is in Bertha's home. - -The people think: "It would be foolish to spend one's time in learning -new things. The longer a person works at making one kind of toy, the -faster he can make them, and he can earn more money." - -One of Bertha's neighbours makes nothing but Noah's Arks. Another -makes toy tables, and still another dolls' chairs. - -Bertha often visits a little friend who helps her father make -cuckoo-clocks. Did you ever see one of these curious clocks? As each -hour comes around, a little bird comes outside the case. Then it flaps -its wings and sings "cuckoo" in a soft, sweet voice as many times as -there are strokes to the hour. It is great fun to watch for the little -bird and hear its soft notes. - -Perhaps you wonder what makes the bird come out at just the right time. -It is done by certain machinery inside the clock. But, however it is, -old people as well as children seem to enjoy the cuckoo-clocks of -Germany. - -"Some day, when you are older, you shall go to the fair at Easter -time," Bertha's father has promised her. - -"Is that at Leipsic, where our Santa Claus images go?" asked his little -daughter. - -"Yes, my dear, and toys from many other parts of our country. There -you will see music-boxes and dolls' pianos and carts and trumpets and -engines and ships. These all come from the mining-towns. - -"But I know what my little Bertha would care for most. She would best -like to see the beautiful wax dolls that come from Sonneberg." - -"Yes, indeed," cried Bertha. "The dear, lovely dollies with yellow -hair like mine. I would love every one of them. I wish I could go to -Sonneberg just to see the dolls." - -"I wonder what makes the wax stick on," said Gretchen, who came into -the room while her father and Bertha were talking. - -"After the heads have been moulded into shape, they are dipped into -pans of boiling wax," her father told her. "The cheap dolls are dipped -only once, but the expensive ones have several baths before they are -finished. The more wax that is put on, the handsomer the dolls are. - -"Then comes the painting. One girl does nothing but paint the lips. -Another one does the cheeks. Still another, the eyebrows. Even then -Miss Dolly looks like a bald-headed baby till her wig is fastened in -its place." - -"I like the yellow hair best," said Bertha. "But it isn't real, is it, -papa?" - -"I suppose you mean to ask, 'Did it ever grow on people's heads?' my -dear. No. It is the wool of a kind of goat. But the black hair is real -hair. Most dolls, however, wear light wigs. People usually prefer them." - -"Do little girls in Sonneberg help make the dolls, just as Bertha and I -help you on the Santa Claus images?" asked Gretchen. - -"Certainly. They fill the bodies with sawdust, and do other easy -things. But they go to school, too, just as you and Bertha do. Lessons -must not be slighted." - -"If I had to help make dolls, just as I do these images," said Gretchen -to her sister as their father went out and left the children together, -"I don't believe I'd care for the handsomest one in the whole toy fair. -I'd be sick of the very sight of them." - -"Look at the time, Bertha. See, we must stop our work and start for -school," exclaimed Gretchen. - -It was only seven o'clock in the morning, but school would begin in -half an hour. These little German girls had to study longer and harder -than their American cousins. They spent at least an hour a day more in -their schoolrooms. - -As they trudged along the road, they passed a little stream which came -trickling down the hillside. - -"I wonder if there is any story about that brook," said Bertha. -"There's a story about almost everything in our dear old country, I'm -sure." - -"You have heard father tell about the stream flowing down the side of -the Kandel, haven't you?" asked Gretchen. - -"Yes, I think so. But I don't remember it very well. What is the story, -Gretchen?" - -"You know the Kandel is one of the highest peaks in the Black Forest. -You've seen it, Bertha." - -"Yes, of course, but tell the story, Gretchen." - -"Well, then, once upon a time there was a poor little boy who had no -father or mother. He had to tend cattle on the side of the Kandel. At -that time there was a deep lake at the summit of the mountain. But the -lake had no outlet. - -"The people who lived in the valley below often said, 'Dear me! how -glad we should be if we could only have plenty of fresh water. But no -stream flows near us. If we could only bring some of the water down -from the lake!' - -"They were afraid, however, to make a channel out of the lake. The -water might rush down with such force as to destroy their village. They -feared to disturb it. - -"Now, it came to pass that the Evil One had it in his heart to destroy -these people. He thought he could do it very easily if the rocky wall -on the side of the lake could be broken down. There was only one way in -which this could be done. An innocent boy must be found and got to do -it. - -"It was a long time before such an one could be found. But at last -the Evil One came across an orphan boy who tended cattle on the -mountainside. The poor little fellow was on his way home. He was -feeling very sad, for he was thinking of his ragged clothes and his -scant food. - -"'Ah ha!' cried the Evil One to himself, 'here is the very boy.' - -"He changed himself at once so he had the form and dress of a hunter, -and stepped up to the lad with a pleasant smile. - -"'Poor little fellow! What is the matter? And what can I do for you?' -he said, in his most winning manner. - -"The boy thought he had found a friend, and told his story. - -"'Do not grieve any longer. There is plenty of gold and silver in these -very mountains. I will show you how to become rich,' said the Evil One. -'Meet me here early to-morrow morning and bring a good strong team with -you. I will help you get the gold.' - -"The boy went home with a glad heart. You may be sure he did not -oversleep the next morning. Before it was light, he had harnessed -four oxen belonging to his master, and started for the summit of the -mountain. - -"The hunter, who was waiting for him, had already fastened a metal ring -around the wall that held in the waters of the lake. - -"'Fasten the oxen to that ring,' commanded the hunter, 'and the rock -will split open.' - -"Somehow or other, the boy did not feel pleased at what he was told to -do. Yet he obeyed, and started the oxen. But as he did so, he cried, -'Do this in the name of God!' - -"At that very instant the sky grew black as night, the thunder rolled -and the lightning flashed. And not only this, for at the same time the -mountain shook and rumbled as though a mighty force were tearing it -apart." - -"What became of the poor boy?" asked Bertha. - -"He fell senseless to the ground, while the oxen in their fright rushed -headlong down the mountainside. But you needn't get excited, Bertha, no -harm was done. The boy was saved as well as the village, because he -had pulled in the name of God. - -"The rock did not split entirely. It broke apart just enough to let out -a tiny stream of water, which began to flow down the mountainside. - -"When the boy came to his senses, the sky was clear and beautiful once -more. The sun was shining brightly, and the hunter was nowhere to be -seen. But the stream of water was running down the mountainside. - -"A few minutes afterward, the boy's master came hurrying up the slope. -He was frightened by the dreadful sounds he had heard. But when he saw -the waterfall, he was filled with delight. - -"'Every one in the village will rejoice,' he exclaimed, 'for now we -shall never want for water.' - -"Then the little boy took courage and told the story of his meeting the -hunter and what he had done. - -"'It is well you did it in the name of the Lord,' cried his master. 'If -you had not, our village would have been destroyed, and every one of us -would have been drowned.'" - -"See! the children are going into the schoolhouse, Gretchen. We must -not be late. Let's run," said Bertha. - -The two little girls stopped talking, and hurried so fast that they -entered the schoolhouse and were sitting in their seats in good order -before the schoolmaster struck his bell. - - - - -CHAPTER III. - -THE WICKED BISHOP - - -"THE Rhine is the loveliest river in the world. I know it must be," -said Bertha. - -"Of course it is," answered her brother. "I've seen it, and I ought to -know. And father thinks so, too. He says it is not only beautiful, but -it is also bound into the whole history of our country. Think of the -battles that have been fought on its shores, and the great generals who -have crossed it!" - -"Yes, and the castles, Hans! Think of the legends father and mother -have told us about the beautiful princesses who have lived in the -castles, and the brave knights who have fought for them! I shall be -perfectly happy if I can ever sail down the Rhine and see the noted -places on its shores." - -"The schoolmaster has taught you all about the war with France, hasn't -he, Bertha?" - -"Of course. And it really seemed at one time as if France would make us -Germans agree to have the Rhine divide the two countries. Just as if -we would be willing to let the French own one shore of our beautiful -river. I should say not!" - -Bertha's cheeks grew rosier than usual at the thought of such a thing. -She talked faster than German children usually do, for they are rather -slow in their speech. - -"We do not own all of the river, little sister, as it is. The baby -Rhine sleeps in an icy cradle in the mountains of Switzerland. Then it -makes its way through our country, but before it reaches the sea it -flows through the low lands of Holland." - -"I know all that, Hans. But we own the best of the Rhine, anyway. I am -perfectly satisfied." - -"I wish I knew all the legends about the river. There are enough of -them to fill many books. Did you ever hear about the Rats' Tower -opposite the town of Bingen, Bertha?" - -"What a funny name for a tower! No. Is there a story about it, Hans?" - -"Yes, one of the boys was telling it to me yesterday while we were -getting wood in the forest. It is a good story, although my friend said -he wasn't sure it is true." - -"What is the story?" - -"It is about a very wicked bishop who was a miser. It happened one time -that the harvests were poor and grain was scarce. The cruel bishop -bought all the grain he could get and locked it up. He intended to sell -it for a high price, and in this way to become very rich. - -"As the days went by, the food became scarcer and scarcer. The people -began to sicken and die of hunger. They had but one thought: they must -get something to eat for their children and themselves. - -"They knew of the stores of grain held by the bishop. They went to him -and begged for some of it, but he paid no attention to their prayers. -Then they demanded that he open the doors of the storehouse and let -them have the grain. It was of no use. - -"At last, they gathered together, and said: - -"'We will break down the door if you do not give it to us.' - -"'Come to-morrow,' answered the bishop. 'Bring your friends with you. -You shall have all the grain you desire.' - -"The morrow came. Crowds gathered in front of the granary. The bishop -unlocked the door, saying: - -"'Go inside and help yourselves freely.' - -"The people rushed in. Then what do you think the cruel bishop did? He -ordered his servants to lock the door and set the place on fire! - -"The air was soon filled with the screams of the burning people. But -the bishop only laughed and danced. He said to his servants: - -"'Do you hear the rats squeaking inside the granary?' - -"The next day came. There were only ashes in place of the great -storehouse. There seemed to be no life about the town, for the people -were all dead. - -"Suddenly there was a great scurrying, as a tremendous swarm of rats -came rushing out of the ashes. On they came, more and more of them. -They filled the streets, and even made their way into the palace. - -"The wicked bishop was filled with fear. He fled from the place and -hurried away over the fields. But the swarm of rats came rushing after -him. He came to Bingen, where he hoped to be safe within its walls. -Somehow or other, the rats made their way inside. - -[Illustration: THE RATS' TOWER.] - -"There was now only one hope of safety. The bishop fled to a tower -standing in the middle of the Rhine. But it was of no use! The rats -swam the river and made their way up the sides of the tower. Their -sharp teeth gnawed holes through the doors and windows. They entered in -and came to the room where the bishop was hiding." - -"Wicked fellow! They killed and ate him as he deserved, didn't they?" -asked Bertha. - -"There wasn't much left of him in a few minutes. But the tower still -stands, and you can see it if you ever go to Bingen, although it is a -crumbling old pile now." - -"Rats' Tower is a good name for it. But I would rather hear about -enchanted princesses and brave knights than wicked old bishops. Tell me -another story, Hans." - -"Oh, I can't. Listen! I hear some one coming. Who can it be?" - -Hans jumped up and ran to the door, just in time to meet his Uncle -Fritz, who lived in Strasburg. - -The children loved him dearly. He was a young man about twenty-one -years old. He came home to this little village in the Black Forest only -about once a year. He had so much to tell and was so kind and cheerful, -every one was glad to see him. - -"Uncle Fritz! Uncle Fritz! We are so glad you've come," exclaimed -Bertha, putting her arms around his neck. "And we are going to have -something that you like for dinner." - -"I can guess what it is. Sauerkraut and boiled pork. There is no other -sauerkraut in Germany as good as that your mother makes, I do believe. -I'm hungry enough to eat the whole dishful and not leave any for you -children. Now what do you say to my coming? Don't you wish I had -stayed in Strasburg?" - -"Oh, no, no, Uncle Fritz. We would rather see you than anybody else," -cried Hans. "And here comes mother. She will be just as glad as we are." - -That evening, after Hans had shown his uncle around the village, and he -had called on his old friends, he settled himself in the chimney-corner -with the children about him. - -"Talk to us about Strasburg, Uncle Fritz," begged Gretchen. - -"Please tell us about the storks," said Bertha. "Are there great -numbers of the birds in the city, and do they build their nests on the -chimneys?" - -"Yes, you can see plenty of storks flying overhead if you will come -back with me," said Uncle Fritz, laughingly. "They seem to know the -people love them. If a stork makes his home about any one's house, it -is a sign of good fortune to the people who live there. - -"'It will surely come,' they say to themselves, 'and the storks will -bring it.' Do you wonder the people like the birds so much?" - -"I read a story about a mother stork," said Bertha, thoughtfully. "She -had a family of baby birds. They were not big enough to leave their -nest, when a fire broke out in the chimney where it was built. Poor -mother bird! She could have saved herself. But she would not leave -her babies. So she stayed with them and they were all burned to death -together." - -"I know the story. That happened right in Strasburg," said her uncle. - -"Please tell us about the beautiful cathedral with its tall tower," -said Hans. "Sometime, uncle, I am going to Strasburg, if I have to -walk there, and then I shall want to spend a whole day in front of the -wonderful clock." - -"You'd better have a lunch with you, Hans, and then you will not get -hungry. But really, my dear little nephew, I hope the time will soon -come when you can pay me a long visit. As for the clock, you will have -to stay in front of it all night as well as all day, if you are to see -all it can show you." - -"I know about cuckoo-clocks, of course," said Gretchen, "but the little -bird is the only figure that comes out on those. There are ever so many -different figures on the Strasburg clock, aren't there, Uncle Fritz?" - -"A great, great many. Angels strike the hours. A different god or -goddess appears for each day in the week. Then, at noon and at -midnight, Jesus and his twelve apostles come out through a door and -march about on a platform. - -"You can imagine what the size of the clock must be when I tell you -that the figures are as large as people. When the procession of the -apostles appears, a gilded cock on the top of the tower flaps its -wings and crows. - -"I cannot begin to tell you all about it. It is as good as a play, and, -as I told Hans, he would have to stay many hours near it to see all the -sights." - -"I should think a strong man would be needed to wind it up," said his -nephew. - -"The best part of it is that it does not need to be wound every day," -replied Uncle Fritz. "They say it will run for years without being -touched. Of course, travellers are coming to Strasburg all the time. -They wish to see the clock, but they also come to see the cathedral -itself. It is a very grand building, and, as you know, the spire is the -tallest one in all Europe. - -"Then there is so much beautiful carving! And there are such fine -statues. Oh, children, you must certainly come to Strasburg before -long and see the cathedral of which all Germany is so proud." - -"Strasburg was for a time the home of our greatest poet," said Bertha. -"I want to go there to see where he lived." - -The child was very fond of poetry, even though she was a little country -girl. Her father had a book containing some of Goethe's ballads, and -she loved to lie under the trees in the pleasant summer-time and repeat -some of these poems. - -"They are just like music," she would say to herself. - -"A marble slab has been set up in the old Fish Market to mark the spot -where Goethe lived," said Uncle Fritz. "They say he loved the grand -cathedral of the city, and it helped him to become a great writer when -he was a young student there. I suppose its beauty awakened his own -beautiful thoughts." - -The children became quiet as they thought of their country and the men -who had made her so strong and great,--the poets, and the musicians, -and the brave soldiers who had defended her from her enemies. - -Uncle Fritz was the first one to speak. - -"I will tell you a story of Strasburg," he said. "It is about something -that happened there a long time ago. You know, the city isn't on the -Rhine itself, but it is on a little stream flowing into the greater -river. - -"Well, once upon a time the people of Zurich, in Switzerland, asked the -people of Strasburg to join with them in a bond of friendship. Each -should help the other in times of danger. The people of Strasburg did -not think much of the idea. They said among themselves: 'What good can -the little town of Zurich do us? And, besides, it is too far away.' So -they sent back word that they did not care to make such a bond. They -were scarcely polite in their message, either. - -"When they heard the reply, the men of Zurich were quite angry. They -were almost ready to fight. But the youngest one of their councillors -said: - -"'We will force them to eat their own words. Indeed, they shall be made -to give us a different answer. And it will come soon, too, if you will -only leave the matter with me.' - -"'Do as you please,' said the other councillors. They went back to -their own houses, while the young man hurried home, rushed out into the -kitchen and picked out the largest kettle there. - -"'Wife, cook as much oatmeal as this pot will hold,' he commanded. - -"The woman wondered what in the world her husband could be thinking of. -But she lost no time in guessing. She ordered her servants to make a -big fire, while she herself stirred and cooked the great kettleful of -oatmeal. - -"In the meanwhile, her husband hurried down to the pier, and got his -swiftest boat ready for a trip down the river. Then he gathered the -best rowers in the town. - -"'Come with me,' he said to two of them, when everything had been made -ready for a trip. They hastened home with him, as he commanded. - -"'Is the oatmeal ready?' he cried, rushing breathless into the kitchen. - -"His wife had just finished her work. The men lifted the kettle from -the fire and ran with it to the waiting boat. It was placed in the -stern and the oarsmen sprang to their places. - -"'Pull, men! Pull with all the strength you have, and we will go to -Strasburg in time to show those stupid people that, if it should be -necessary, we live near enough to them to give them a hot supper.' - -"How the men worked! They rowed as they had never rowed before. - -"They passed one village after another. Still they moved onward without -stopping, till they found themselves at the pier of Strasburg. - -"The councillor jumped out of the boat, telling two of his men -to follow with the great pot of oatmeal. He led the way to the -council-house, where he burst in with his strange present. - -"'I bring you a warm answer to your cold words,' he told the surprised -councillors. He spoke truly, for the pot was still steaming. How amused -they all were! - -"'What a clever fellow he is,' they said among themselves. 'Surely we -will agree to make the bond with Zurich, if it holds many men like him.' - -"The bond was quickly signed and then, with laughter and good-will, the -councillors gathered around the kettle with spoons and ate every bit of -the oatmeal. - -"'It is excellent,' they all cried. And indeed it was still hot enough -to burn the mouths of those who were not careful." - -"Good! Good!" cried the children, and they laughed heartily, even -though it was a joke against their own people. - -Their father and mother had also listened to the story and enjoyed it -as much as the children. - -"Another story, please, dear Uncle Fritz," they begged. - -But their father pointed to the clock. "Too late, too late, my dears," -he said. "If you sit up any longer, your mother will have to call you -more than once in the morning. So, away to your beds, every one of -you." - - - - -CHAPTER IV. - -THE COFFEE-PARTY - - -"HOW would you like to be a wood-cutter, Hans?" - -"I think it would be great sport. I like to hear the thud of the axe as -it comes down on the trunk. Then it is always an exciting time as the -tree begins to bend and fall to the ground. Somehow, it seems like a -person. I can't help pitying it, either." - -Hans had come over to the next village on an errand for his father. A -big sawmill had been built on the side of the stream, and all the men -in the place were kept busy cutting down trees in the Black Forest, or -working in the sawmill. - -After the logs had been cut the right length, they were bound into -rafts, and floated down the little stream to the Rhine. - -"The rafts themselves seem alive," said Hans to his friend. "You men -know just how to bind the logs together with those willow bands, so -they twist and turn about like living creatures as they move down the -stream." - -"I have travelled on a raft all the way from here to Cologne," answered -the wood-cutter. "The one who steers must be skilful, for he needs to -be very careful. You know the rafts grow larger all the time, don't -you, Hans?" - -"Oh, yes. As the river becomes wider, the smaller ones are bound -together. But is it true that the men sometimes take their families -along with them?" - -"Certainly. They set up tents, or little huts, on the rafts, so their -wives and children can have a comfortable place to eat and sleep. Then, -too, if it rains, they can be sheltered from the storm." - -"I'd like to go with you sometime. You pass close to Strasburg, and I -could stop and visit Uncle Fritz. Wouldn't it be fun!" - -"Hans! Hans!" called a girl's voice just then. - -"I don't see her, but I know that's Bertha. She came over to the -village with me this afternoon. One of her friends has a coffee-party -and she invited us to it. So, good-bye." - -"Good-bye, my lad. Come and see me again. Perhaps I can manage sometime -to take you with me on a trip down the river." - -"Thank you ever so much." - -Hans hurried away, and was soon entering the house of a little friend -who was celebrating her birthday with a coffee-party. - -There were several other children there. They were all dressed in their -best clothes and looked very neat and nice. The boys wore long trousers -and straight jackets. They looked like little old men. The girls had -bright-coloured skirts and their white waists were fresh and stiff. - -Their shoes were coarse and heavy, and made a good deal of noise as the -children played the different games. But they were all so plump and -rosy, it was good to look at them. - -"They are a pretty sight," said one of the neighbours, as she poured -out the coffee. - -"They deserve to have a good time," said another woman with a kind, -motherly face. "They will soon grow up, and then they will have to work -hard to get a living." - -The coffee and cakes were a great treat to these village children. They -did not get such a feast every day in the year. Their mothers made -cakes only for festivals and holidays, and coffee was seldom seen on -their tables oftener than once a week. - -In the great cities and fine castles, where the rich people of Germany -had their homes, they could eat sweet dainties and drink coffee as -often as they liked. But in the villages of the Black Forest, it was -quite different. - -"Good night, good night," said Hans and Bertha, as they left their -friends and trudged off on a path through the woods. It was the -shortest way home, and they knew their mother must be looking for them -by this time. - -It was just sunset, but the children could not see the beautiful -colours of the evening sky, after they had gone a short distance into -the thick woods. - -"Do you suppose there are any bears around?" whispered Bertha. - -The trees looked very black. It seemed to the little girl as though she -kept seeing the shadow of some big animal hiding behind them. - -"No, indeed," answered Hans, quite scornfully. "Too many people go -along this path for bears to be willing to stay around here. You would -have to go farther up into the forest to find them. But look quickly, -Bertha. Do you see that rabbit jumping along? Isn't he a big fellow?" - -"See! Hans, he has noticed us. There he goes as fast as his legs can -carry him." - -By this time, the children had reached the top of a hill. The trees -grew very thick and close. On one side a torrent came rushing down over -the rocks and stones. It seemed to say: - -"I cannot stop for any one. But come with me, come with me, and I will -take you to the beautiful Rhine. I will show you the way to pretty -bridges, and great stone castles, and rare old cities. Oh, this is a -wonderful world, and you children of the Black Forest have a great deal -to see yet." - -"I love to listen to running water," said Bertha. "It always has a -story to tell us." - -"Do you see that light over there, away off in the distance?" asked -Hans. "It comes from a charcoal-pit. I can hear the voices of the men -at their work." - -"I shouldn't like to stay out in the dark woods all the time and make -charcoal," answered his sister. "I should get lonesome and long for the -sunlight." - -"It isn't very easy work, either," said Hans. "After the trees have -been cut down, the pits have to be made with the greatest care, and the -wood must be burned just so slowly to change it into charcoal. I once -spent a day in the forest with some charcoal-burners. They told such -good stories that night came before I had thought of it." - -"I can see the village ahead of us," said Bertha, joyfully. - -A few minutes afterward, the children were running up the stone steps -of their own home. - -"We had such a good time," Hans told his mother, while Bertha went -to Gretchen and gave her some cakes she had brought her from the -coffee-party. - -"I'm so sorry you couldn't go," she told her sister. - -"Perhaps I can next time," answered Gretchen. "But, of course, we could -not all leave mother when she had so much work to do. So I just kept -busy and tried to forget all about it." - -"You dear, good Gretchen! I'm going to try to be as patient and helpful -as you are," said Bertha, kissing her sister. - - - - -CHAPTER V. - -THE BEAUTIFUL CASTLE - - -"FATHER'S coming, father's coming," cried Bertha, as she ran down the -steps and out into the street. - -Her father had been away for two days, and Hans had gone with him. They -had been to Heidelberg. Bertha and Gretchen had never yet visited that -city, although it was not more than twenty miles away. - -"Oh, dear, I don't know where to begin," Hans told the girls that -evening. - -"Of course, I liked to watch the students better than anything else. -The town seems full of them. They all study in the university, of -course, but they are on the streets a good deal. They seem to have a -fine time of it. Every one carries a small cane with a button on the -end of it. They wear their little caps down over their foreheads on one -side." - -"What colour do they have for their caps, Hans?" asked Gretchen. - -"All colours, I believe. Some are red, some blue, some yellow, some -green. Oh, I can't tell you how many different kinds there are. But -they were bright and pretty, and made the streets look as though it -must be a festival day." - -"I have heard that the students fight a good many duels. Is that so, -Hans?" - -"If you should see them, you would certainly think so. Many of the -fellows are real handsome, but their faces are scarred more often than -not. - -"'The more scars I can show, the braver people will think I am.' That -is what the students seem to think. They get up duels with each other -on the smallest excuse. When they fight, they always try to strike the -face. Father says their duelling is good practice. It really helps to -make them brave. If I were a student, I should want to fight duels, -too." - -Bertha shuddered. Duelling was quite the fashion in German -universities, but the little girl was very tender-hearted. She could -not bear to think of her brother having his face cut up by the sword of -any one in the world. - -"What do you think, girls?" Hans went on. "Father had to go to the -part of the town nearest the castle. He said he should be busy for -several hours, and I could do what I liked. So I climbed up the hill to -the castle, and wandered all around it. I saw a number of English and -American people there. I suppose they had come to Heidelberg on purpose -to see those buildings. - -"'Isn't it beautiful!' I heard them exclaim again and again. And I saw -a boy about my own age writing things about it in a note-book. He -told his mother he was going to say it was the most beautiful ruin in -Germany. He was an American boy, but he spoke our language. I suppose -he was just learning it, for he made ever so many mistakes. I could -hardly tell what he was trying to say." - -"What did his mother answer?" asked Bertha. - -"She nodded her head, and then pointed out some of the finest carvings -and statues. But she and her son moved away from me before long, and -then I found myself near some children of our country. They must -have been rich, for they were dressed quite grandly. Their governess -was with them. She told them to notice how many different kinds of -buildings there were, some of them richly carved, and some quite plain. -'You will find here palaces, towers, and fortresses, all together,' she -said. 'For, in the old days, it was not only a grand home, but it was -also a strong fortress.'" - -[Illustration: COURTYARD OF HEIDELBERG CASTLE.] - -"You know father told us it was not built all at once," said Gretchen. -"Different parts were added during four hundred years." - -"Yes, and he said it had been stormed by the enemy, and burned and -plundered," added Bertha. "It has been in the hands of those horrid -Frenchmen several different times. Did you see the blown-up tower, -Hans?" - -"Of course I did. Half of it, you know, fell into the moat during one -of the sieges, but linden-trees have grown about it, and it makes a -shady nook in which to rest one's self." - -"You did not go inside of the castle, did you, Hans?" asked Gretchen. - -"No. It looked so big and gloomy, I stayed outside in the pretty -gardens. I climbed over some of the moss-grown stairs, though, and I -kept discovering something I hadn't seen before. Here and there were -old fountains and marble statues, all gray with age." - -"They say that under the castle are great, dark dungeons," said Bertha, -shivering at the thought. - -"What would a castle be without dungeons?" replied her brother. "Of -course there are dungeons. And there are also hidden, underground -passages through which the people inside could escape in times of war -and siege." - -"Oh, Hans! did you see the Heidelberg Tun?" asked Gretchen. - -Now, the Heidelberg Tun is the largest wine-cask in the whole world. -People say that it holds forty-nine thousand gallons. Just think of it! -But it has not been filled for more than a hundred years. - -"No, I didn't see it," replied Hans. "It is down in the cellar, and I -didn't want to go there without father. I heard some of the visitors -telling about the marks of the Frenchmen's hatchets on its sides. One -of the times they captured the castle, they tried to break open the -tun. They thought it was full of wine. But they did not succeed in -hacking through its tough sides." - -"Good! Good!" cried his sisters. They had little love for France and -her people. - -That evening, after Hans had finished telling the girls about his -visit, their father told them the legend of Count Frederick, a brave -and daring man who once lived in Heidelberg Castle. - -Count Frederick was so brave and successful that he was called -"Frederick the Victorious." - -Once upon a time he was attacked by the knights and bishops of the -Rhine, who had banded together against him. When he found what great -numbers of soldiers were attacking his castle, Count Frederick was not -frightened in the least. He armed his men with sharp daggers, and -marched boldly out against his foes. - -They attacked the horses first of all. The daggers made short work, and -the knights were soon brought to the ground. Their armour was so heavy -that it was an easy matter then to make them prisoners and take them -into the castle. - -But Frederick treated them most kindly. He ordered a great banquet to -be prepared, and invited his prisoners to gather around the board, -where all sorts of good things were served. - -One thing only was lacking. There was no bread. The guests thought it -was because the servants had forgotten it, and one of them dared to -ask for a piece. Count Frederick at once turned toward his steward and -ordered the bread to be brought. Now his master had privately talked -with the steward and had told him what words to use at this time. - -"I am very sorry," said the steward, "but there is no bread." - -"You must bake some at once," ordered his master. - -"But we have no flour," was the answer. - -"You must grind some, then," was the command. - -"We cannot do so, for we have no grain." - -"Then see that some is threshed immediately." - -"That is impossible, for the harvests have been burned down," replied -the steward. - -"You can at least sow grain, that we may have new harvests as soon as -possible." - -"We cannot even do that, for our enemies have burned down all the -buildings where the grain was stored for seed-time." - -Frederick now turned to his visitors, and told them they must eat their -meat without bread. But that was not all. He told them they must give -him enough money to build new houses and barns to take the places of -those they had destroyed, and also to buy new seed for grain. - -"It is wrong," he said, sternly, "to carry on war against those who -are helpless, and to take away their seeds and tools from the poor -peasants." - -It was a sensible speech. It made the knights ashamed of the way they -had been carrying on war in the country, and they left the castle wiser -and better men. - -All this happened long, long ago, before Germany could be called -one country, for the different parts of the land were ruled over by -different people and in different ways. - -This same Count Frederick, their father told them, had great love for -the poor. When he was still quite young, he made a vow. He said, "I -will never marry a woman of noble family." - -Not long after this, he fell in love with a princess. But he could not -ask her to marry him on account of the vow he had made. - -He was so unhappy that he went into the army. He did not wish to live, -and hoped he would soon meet death. - -But the fair princess loved Frederick as deeply as he loved her, and as -soon as she learned of the vow he had made, she made up her mind what -to do. - -She put on the dress of a poor singing-girl, and left her grand home. -She followed Frederick from place to place. They met face to face one -beautiful evening. Then it was that the princess told her lover she had -given up her rank and title for his sake. - -How joyful she made him as he listened to her story! You may be sure -they were soon married, and the young couple went to live in Heidelberg -Castle, where they were as happy and as merry as the day is long. - - - - -CHAPTER VI. - -THE GREAT FREDERICK - - -"I DECLARE, Hans, I should think you would get tired of playing war," -said Bertha. She was sitting under the trees rocking her doll. She was -playing it was a baby. - -Hans had just come home after an afternoon of sport with his boy -friends. But all they had done, Bertha declared, was to play war and -soldiers. She had watched them from her own yard. - -"Tired of it! What a silly idea, Bertha. It won't be many years before -I shall be a real soldier. Just picture me then! I shall have a -uniform, and march to music. I don't know where I may go, either. Who -knows to what part of the world the emperor will send his soldiers at -that time?" - -"I know where you would like to go in our own country," said Bertha. - -"To Berlin, of course. What a grand city it must be! Father has been -there. Our schoolmaster was there while he served his time as a -soldier. At this very moment, it almost seems as though I could hear -the jingling of the officers' swords as they move along the streets. -The regiments are drilled every day, and I don't know how often the -soldiers have sham battles." - -Hans jumped up from his seat under the tree and began to march up and -down as though he were a soldier already. - -"Attention, battalion! Forward, march!" Bertha called after him. But -she was laughing as she spoke. She could not help it, Hans looked so -serious. At the same time she couldn't help envying her brother a -little, and wishing she were a boy, too. It must be so grand to be -a soldier and be ready to fight for the emperor who ruled over her -country. - -[Illustration: STATUE OF FREDERICK THE GREAT.] - -"The schoolmaster told us boys yesterday about the grand palace at -Berlin. The emperor lives in it when he is in the city," said Hans, -wheeling around suddenly and stopping in front of Bertha. - -"I think you must have caught my thoughts," said the little girl, "for -the emperor was in my mind when you began to speak." - -"Well, never mind that. Do you wish to hear about the palace?" - -"Of course I do, Hans." - -"The schoolmaster says it has six hundred rooms. Just think of it! -And one of them, called the White Room, is furnished so grandly that -2,400,000 marks were spent on it. You can't imagine it, Bertha, of -course. I can't, either." - -A German mark is worth about twenty-four cents of American money, so -the furnishing of the room Hans spoke of must have cost about $600,000. -It was a large sum, and it is no wonder the boy said he could hardly -imagine so much money. - -"There are hundreds of halls in the palace," Hans went on. "Some -of their walls are painted and others are hung with elegant silk -draperies. The floors are polished so they shine like mirrors. Then -the pictures and the armour, Bertha! It almost seemed as though I were -there while the schoolmaster was describing them." - -"I never expect to see such lovely things," said his sober little -sister. "But perhaps I shall go to Berlin some day, Hans. Then I can -see the statue of Frederick the Great, at any rate." - -"It stands opposite the palace," said her brother, "and cost more than -any other bronze statue in the world." - -"How did you learn that, Hans?" - -"The schoolmaster told us so. He said, too, that it ought to stir the -blood of every true German to look at it. There the great Frederick -sits on horseback, wearing the robe in which he was crowned, and -looking out from under his cocked hat with his bright, sharp eyes. That -statue alone is enough to make the soldiers who march past it ready to -give their lives for their country." - -"He lived when the different kingdoms were separated from each other, -and there was no one ruler over all of them. I know that," said Bertha. - -"Yes, he was the King of Prussia. And he fought the Seven Years' War -with France and came out victorious. Hardly any one thought he could -succeed, for there was so much against him. But he was brave and -determined. Those two things were worth everything else." - -"That wasn't the only war he won, either, Hans." - -"No, but it must have been the greatest. Did you know, Bertha, that he -was unhappy when he was young? His father was so strict that he tried -to run away from Germany with two of his friends. The king found out -what they meant to do. One of the friends was put to death, and the -other managed to escape." - -"What did his father do to Frederick?" Bertha's eyes were full of pity -for a prince who was so unhappy as to wish to run away. - -"The king ordered his son to be put to death. But I suppose he was -angry at the time, for he changed his mind before the sentence was -carried out, and forgave him." - -"I wonder how kings and emperors live," said Bertha, slowly. It seemed -as though everything must be different with them from what it was with -other people. - -"I'll tell you about Frederick, if you wish to listen." - -"Of course I do, Hans." - -"In the first place, he didn't care anything about fine clothes, even -if he was a king and was born in the grand palace at Berlin. His coat -was often very shabby. - -"In the next place, he slept only about four hours out of the whole -twenty-four for a good many years. He got up at three o'clock on summer -mornings, and in the winter-time he was always dressed by five, at the -very latest. - -"While his hair-dresser was at work, he opened his most important -letters. After that, he attended to other business affairs of the -country. These things were done before eating or drinking. But when -they had been attended to, the king went into his writing-room and -drank a number of glasses of cold water. As he wrote, he sipped coffee -and ate a little fruit from time to time. - -"He loved music very dearly, and sometimes rested from his work and -played on his flute. - -"Dinner was the only regular meal of the day. It was served at twelve -o'clock, and lasted three or four hours. There was a bill of fare, and -the names of the cooks were given as well as the dishes they prepared." - -"Did the king ever let them know whether he was pleased or not with -their cooking?" asked Bertha. - -"Yes. He marked the dishes he liked best with a cross. He enjoyed his -dinner, and generally had a number of friends to eat with him. There -was much joking, and there were many clever speeches. - -"When the meal was over, the king played on his flute a short time, and -then attended to more business." - -"Did he work till bedtime, Hans?" - -"Oh, no. In the evening there was a concert or lecture, or something -like that. But, all the same, the king was a hardworking man, even in -times of peace." - -"He loved his people dearly, father once told me," said Bertha. "He -said he understood his subjects and they understood him." - -"Yes, and that reminds me of a story the schoolmaster told. King -Frederick was once riding through the street when he saw a crowd of -people gathered together. He said to his groom, 'Go and see what is the -matter.' The man came back and told the king that the people were all -looking at a caricature of Frederick himself. A caricature, you know, -is a comical portrait. - -"Perhaps you think the king was angry when he heard this. Not at all. -He said, 'Go and hang the picture lower down, so they will not have to -stretch their necks to see it.' - -"The crowd heard the words. 'Hurrah for the king!' they cried. At the -same time, they began to tear the picture into pieces." - -"Frederick the Great could appreciate a joke," said Bertha. "I should -think the people must have loved him." - -"He had some fine buildings put up in his lifetime," Hans went on. "A -new palace was built in Berlin, besides another one the king called -'Sans Souci.' Those are French words meaning, 'Without a Care.' He -called the place by that name because he said he was free-hearted and -untroubled while he stayed there. - -"I've told you these things because you are a girl. But I'll tell you -what I like to think of best of all. It's the stories of the wars in -which he fought and in which he showed such wonderful courage. So, -hurrah for Frederick the Great, King of Prussia!" - -Hans made a salute as though he stood in the presence of the great -king. Then he started for the wood-pile, where he was soon sawing logs -with as much energy as if he were fighting against the enemies of his -country. - - - - -CHAPTER VII. - -THE BRAVE PRINCESS - - -"LISTEN, children! That must be the song of a nightingale. How sweet it -is!" - -It was a lovely Sunday afternoon. Every one in the family had been to -church in the morning, and come home to a good dinner of bean soup and -potato salad. Then the father had said: - -"Let us take a long walk over the fields and through the woods. The -world is beautiful to-day. We can enjoy it best by leaving the house -behind us." - -Some of the neighbours joined the merry party. The men smoked their -pipes, while the women chatted together and the children frolicked -about them and picked wild flowers. - -How many sweet smells there were in the fields! How gaily the birds -sang! The air seemed full of peace and joy. - -They all wandered on till they came to a cascade flowing down over some -high rocks. Trees grew close to the waterfall, and bent over it as -though to hide it from curious eyes. It was a pretty spot. - -"Let us sit down at the foot of this cascade," said Bertha's father. -"It is a pleasant place to rest." - -Every one liked the plan. Bertha nestled close to her father's side. - -"Tell us a story. Please do," she said. - -"Ask neighbour Abel. He knows many a legend of just such places as -this. He has lived in the Hartz Mountains, and they are filled with -fairy stories." - -The rest of the party heard what was said. - -"Neighbour Abel! A story, a story," they cried. - -Of course the kind-hearted German could not refuse such a general -request. Besides, he liked to tell stories. Taking his long pipe out of -his mouth, he laid it down on the ground beside him. Then he cleared -his throat and began to speak. - -"Look above you, friends. Do you see that mark on the rocky platform -overhead? I noticed it as soon as I got here. It made me think of a -wild spot in the Hartz Mountains where there is just such a mark. The -people call it 'The Horse's Hoof-print.' I will tell you how they -explain its coming there. - -"Once upon a time there was a beautiful princess. Her name was -Brunhilda, and she lived in Bohemia. She lived a gay and happy life, -like most young princesses, till one day a handsome prince arrived at -her father's palace. He was the son of the king of the Hartz country. - -"Of course, you can all guess what happened. The prince fell in love -with the princess, and she returned his love. The day was set for the -wedding, and the young prince went home to prepare for the great event. - -"But he had been gone only a short time when a powerful giant arrived -at Brunhilda's home. He came from the far north. His name was Bodo. - -"He asked for the princess in marriage, but her heart had already been -given away. She did not care for the giant, even though he gave her the -most elegant presents,--a beautiful white horse, jewels set in gold, -and chains of amber. - -"'I dare not refuse the giant,' said Brunhilda's father. 'He is very -powerful, and we must not make him angry. You must marry him, my -daughter, in three days.' - -"The poor maiden wept bitterly. It seemed as though her heart would -break. But she was a clever girl, and she soon dried her tears and -began to think of some plan by which she might yet be free. She began -to smile upon the giant and treat him with great kindness. - -"'I should like to try the beautiful horse you brought me,' she said -to him. He was much pleased. The horse was brought to the door. The -princess mounted him and rode for a time up and down in front of the -palace. - -"The very next day was that set apart for the wedding. The castle was -filled with guests who feasted and made merry. The giant entered into -everything with a will. He laughed till the floors and walls shook. -Little did he think what was taking place. For the princess slipped out -of the castle when no one was watching, hurried into the stable, and -leaped upon the back of her swift white horse. - -"'Lower the drawbridge instantly,' she called to the guard. She passed -over it, and away she flew like the wind. - -"You were too late, too late, O giant, when you discovered that -Brunhilda was missing. - -"He flew out of the castle, and on the back of his own fiery black -horse he dashed after the runaway princess. - -"On they went! On, on, without stopping. Over the plains, up and down -the hillsides, through the villages. The sun set and darkness fell upon -the world, but there was never a moment's rest for the maiden on the -white horse or the giant lover on his black steed. - -"Sometimes in the darkness sparks were struck off from the horses' -hoofs as they passed over rough and rocky places. These sparks always -showed the princess ahead and slowly increasing the distance between -herself and her pursuer. - -"When the morning light first appeared, the maiden could see the summit -of the Brocken ahead of her. It was the home of her lover. Her heart -leaped within her. If she could only reach it she would be safe. - -"But alas! her horse suddenly stood still. He would not move. He had -reached the edge of a precipice. There it lay, separating the princess -from love and safety. - -"The brave girl had not a moment to lose. The giant was fast drawing -near. She wheeled her horse around; then, striking his sides a sharp -blow with her whip, she urged him to leap across the precipice. - -"The spring must be strong and sure. It was a matter of life and death. -The chasm was deep. If the horse should fail to strike the other side -securely, it meant a horrible end to beast and rider. - -"But he did not fail. The feet of the brave steed came firmly down upon -the rocky platform. So heavily did they fall that the imprint of a hoof -was left upon the rock. - -"The princess was now safe. It would be an easy matter for her to -reach her lover's side. - -"As for the giant, he tried to follow Brunhilda across the chasm. But -he was too heavy and his horse failed to reach the mark. The two sank -together to the bottom of the precipice." - -Every one thanked the story-teller, and begged him to tell more of the -Hartz Mountains, where he had spent his boyhood days. The children were -delighted when he spoke of the gnomes, in whom he believed when he was -a child. - -"Every time I went out in the dark woods," he said, "I was on the -lookout for these funny little fairies of the underground world. I -wanted to see them, but at the same time I was afraid I should meet -them. - -"I remember one time that my mother sent me on an errand through the -woods at twilight. I was in the thickest part of the woods, when I -heard a sound that sent a shiver down my back. - -"'It is a witch, or some other dreadful being,' I said to myself. -'Nothing else could make a sound like that.' My teeth chattered. My -legs shook so, I could hardly move. Somehow or other, I managed to keep -on. It seemed as though hours passed before I saw the lights of the -village. Yet I suppose it was not more than fifteen minutes. - -"When I was once more safe inside my own home, I told my father and -mother about my fright. - -"'It was no witch, my child,' said my father. 'The sound you describe -was probably the cry of a wildcat. I thank Heaven that you are safe. A -wildcat is not a very pleasant creature to meet in a lonely place.' - -"After that, I was never sent away from the village after dark. - -"My boy friends and I often came across badgers and deer, and sometimes -foxes made their way into the village in search of poultry, but I never -came nearer to meeting a wildcat than the time of which I have just -told you." - -"What work did you do out of school hours?" asked Hans. The boy was -thinking of the toys he had to carve. - -"My mother raised canary-birds, and I used to help her a great deal. -Nearly every woman in the village was busy at the same work. What -concerts we did have in those days! Mother tended every young bird she -raised with the greatest care. Would it become a good singer and bring -a fair price? We waited anxiously for the first notes, and then watched -to see how the voices gained in strength and sweetness. - -"It was a pleasant life, and I was very happy among the birds in our -little village. Would you like to hear a song I used to sing at that -time? It is all about the birds and bees and flowers." - -"Do sing it for us," cried every one. - -Herr Abel had a good voice and they listened with pleasure to his song. -This is the first stanza: - - "I have been on the mountain - That the song-birds love best. - They were sitting, were flitting, - They were building their nest. - They were sitting, were flitting, - They were building their nest." - -[Illustration: BERTHA'S HOME.] - -After he had finished, he told about the mines in which some of his -friends worked. It was a hard life, with no bright sunlight to cheer -the men in those deep, dark caverns underground. - -"Of course you all know that the deepest mine in the world is in the -Hartz Mountains." - -His friends nodded their heads, while Hans whispered to Bertha, "I -should like to go down in that mine just for the sake of saying I have -been as far into the earth as any living person." - -"The sun is setting, and there is a chill in the air," said Bertha's -father. "Let us go home." - - - - -CHAPTER VIII. - -WHAT THE WAVES BRING - - -BERTHA'S mother had just come in from a hard morning's work in the -fields. She had been helping her husband weed the garden. - -She spent a great deal of time outdoors in the summer-time, as many -German peasant women do. They do a large share of the work in ploughing -the grain-fields and harvesting the crops. They are much stronger than -their American cousins. - -"Supper is all ready and waiting for you," said Bertha. - -The little girl had prepared a dish of sweet fruit soup which her -mother had taught her to make. - -"It is very good," said her father when he had tasted it. "My little -Bertha is getting to be quite a housekeeper." - -"Indeed, it is very good," said her mother. "You learned your lesson -well, my child." - -Bertha was quite abashed by so much praise. She looked down upon her -plate and did not lift her eyes again till Gretchen began to tell of a -new amber bracelet which had just been given to one of the neighbours. - -"It is beautiful," said Gretchen, quite excitedly. "The beads are such -a clear, lovely yellow. They look so pretty on Frau Braun's neck, I -don't wonder she is greatly pleased with her present." - -"Who sent it to her?" asked her mother. - -"Her brother in Cologne. He is doing well at his trade, and so -he bought this necklace at a fair and sent it to his sister as a -remembrance. He wrote her a letter all about the sights in Cologne, and -asked Frau Braun to come and visit him and his wife. - -"He promised her in the letter that if she would come, he would take -her to see the grand Cologne cathedral. He said thousands of strangers -visit it every year, because every one knows it is one of the most -beautiful buildings in all Europe. - -"Then he said she should also see the Church of Saint Ursula, where the -bones of the eleven thousand maidens can still be seen in their glass -cases." - -"Do you know the story of St. Ursula, Gretchen?" asked her father. - -"Yes, indeed, sir. Ursula was the daughter of an English king. She was -about to be married, but she said that before the wedding she would go -to Rome on a pilgrimage. - -"Eleven thousand young girls went with the princess. On her way home -she was married, but when the wedding party had got as far as Cologne, -they were attacked by the savage Huns. Every one was killed,--Ursula, -her husband, and the eleven thousand maidens. The church was afterward -built in her memory. Ursula was made a saint by the Pope, and the bones -of the young girls were preserved in glass cases in the church." - -"Did Frau Braun tell of anything else her brother wrote?" asked her -mother. - -"He spoke of the bridge of boats across the river, and said she would -enjoy watching it open and shut to let the steamers and big rafts pass -through. And he told of the Cologne water that is sold in so many of -the shops. It is hard to tell which makes the town most famous, the -great cathedral or the Cologne water." - -"Father, how was the bridge of boats made?" asked Bertha. - -"The boats were moored in a line across the river. Planks were then -laid across the tops and fastened upon them. Vessels cannot pass under -a bridge of this kind, so it has to be opened from time to time. They -say it is always interesting to see this done." - -"Yes, Frau Braun said she would rather see the bridge of boats than -anything else in the city. She has already begun to plan how she can -save up enough money to make the trip." - -"I will go over there to-morrow to see he new necklace," said Bertha. -"But what is amber, father?" - -"If you should go to the northern part of Germany, Bertha, you would -see great numbers of men, women, and children, busy on the shores of -the ocean. The work is greatest in the rough days of autumn, when a -strong wind is blowing from the northeast. - -"Then the men dress themselves as though they were going out into a -storm. They arm themselves with nets and plunge into the waves, which -are bringing treasure to the shore. It is the beautiful amber we admire -so much. - -"The women and children are waiting on the sands, and as the men bring -in their nets, the contents are given into their hands. They separate -the precious lumps of amber from the weeds to which they are clinging." - -Their father stopped to fill his pipe, and the children thought he had -come to the end of the story. - -"But you haven't told us yet what amber is," said Bertha. - -"Be patient, my little one, and you shall hear," replied her father, -patting her head. "As yet, I have not half told the story. But I will -answer your question at once. - -"A long time ago, longer than you can imagine, Bertha, forests were -growing along the shores of the Baltic Sea. There was a great deal of -gum in the trees of these forests. It oozed out of the trees in the -same manner as gum from the spruce-tree and resin from the pine. - -"Storms arose, and beds of sand and clay drifted over the forests. They -were buried away for thousands of years, it may be. But the motion of -the sea washes up pieces of the gum, which is of light weight. - -"The gum has become changed while buried in the earth such a long, long -time. Wise men use the word 'fossilized' when they speak of what has -happened to it. The now beautiful, changed gum is called amber. - -"There are different ways of getting it. I told you how it comes -drifting in on the waves when the winds are high and the water is -rough. But on the pleasant summer days, when the sea is smooth and -calm, the men go out a little way from the shore in boats. They float -about, looking earnestly over the sides of the boats to the bottom of -the sea. - -"All at once, they see something. Down go their long hooks through the -water. A moment afterward, they begin to tow a tangle of stones and -seaweed to the shore. As soon as they land, they begin to sort out the -great mass. Perhaps they will rejoice in finding large pieces of amber -in the collection. - -"There is still another way of getting amber. I know Hans will be most -interested in what I am going to say now. It has more of danger in it, -and boys like to hear anything in the way of adventure." - -Hans looked up and smiled. His father knew him well. He was a daring -lad. He was always longing for the time when he should grow up and be a -soldier, and possibly take part in some war. - -"Children," their father went on, "you have all heard of divers and of -their dangerous work under the sea. Gretchen was telling me the other -day about her geography lesson, and of the pearl-divers along the -shores of India. I did not tell her then that some men spend their -lives diving for amber on the shores of our own country. - -"They wear rubber suits and helmets and air-chests of sheet iron." - -"How can they see where they are going?" asked Bertha. - -"There are glass openings in their helmets, and they can look through -these. They go out in boats. The crew generally consists of six men. -Two of them are divers, and four men have charge of the air-pumps. -These pumps force fresh air down through tubes fastened to the helmet -of each diver. Besides these men there is an overseer who has charge of -everything. - -"Sometimes the divers stay for hours on the bed of the sea, and work -away at the amber tangles." - -"But suppose anything happens to the air-tubes and the men fail to get -as much air as they need?" said Hans. "Is there any way of letting -those in the boat know they are in trouble? And, besides that, how do -the others know when it is time to raise the divers with their precious -loads?" - -"There is a safety-rope reaching from the boat to the men. When they -pull this rope it is a sign that they wish to be drawn up. But I have -told you as much about amber now as you will be able to remember." - -"Are you very tired, father dear?" said Bertha, in her most coaxing -tone. - -"Why should I be tired? What do you wish to ask me? Come, speak out -plainly, little one." - -"You tell such lovely fairy-tales, papa, I was just wishing for one. -See! The moon is just rising above the tree-tops. It is the very time -for stories of the wonderful beings." - -Her father smiled. "It shall be as you wish, Bertha. It is hard to -refuse you when you look at me that way. Come, children, let us sit in -the doorway. Goodwife, put down your work and join us while I tell the -story of Siegfried, the old hero of Germany." - - - - -CHAPTER IX. - -THE MAGIC SWORD - - -FAR away in the long ago there lived a mighty king with his goodwife -and his brave son, Siegfried. Their home was at Xanten, where the river -Rhine flows lazily along. - -The young prince was carefully taught. But when his education was -nearly finished, his father said: - -"Siegfried, there is a mighty smith named Mimer. It will be well for -you to learn all you can of him in regard to the making of arms." - -So Siegfried went to work at the trade of a smith. It was not long -before he excelled his teacher. This pleased Mimer, who spent many -spare hours with his pupil, telling him stories of the olden times. - -After awhile, he took Siegfried into his confidence. He said: - -"There is a powerful knight in Burgundy who has challenged every smith -of my country to make a weapon strong enough to pierce his coat of mail. - -"I long to try," Mimer went on, "but I am now old and have not strength -enough to use the heavy hammer." - -At these words Siegfried jumped up in great excitement. - -"I will make the sword, dear master," he cried. "Be of good cheer. It -shall be strong enough to cut the knight's armour in two." - -Early the next morning, Siegfried began his work. For seven days and -seven nights the constant ringing of his hammer could be heard. At -the end of that time Siegfried came to his master with a sword of the -finest steel in his right hand. - -Mimer looked it all over. He then held it in a stream of running water -in which he had thrown a fine thread. The water carried the thread -against the edge of the sword, where it was cut in two. - -"It is without a fault," cried Mimer with delight. - -"I can do better than that," answered Siegfried, and he took the sword -and broke it into pieces. - -Again he set to work. For seven more days and seven more nights he was -busy at his forge. At the end of that time he brought a polished sword -to his master. - -Mimer looked it over with the greatest care and made ready to test it. - -He threw the fleeces of twelve sheep into the stream. The current -carried them on its bosom to Siegfried's sword. Instantly, each piece -was divided as it met the blade. Mimer shouted aloud in his joy. - -"Balmung" (for that was the name Siegfried gave the sword) "is the -finest weapon man ever made," he cried. - -Siegfried was now prepared to meet the proud knight of Burgundy. - -The very first thrust of the sword, Balmung, did the work. The head and -shoulders of the giant were severed from the rest of the body. They -rolled down the hillside and fell into the Rhine, where they can be -seen even now, when the water is clear. At least, so runs the story. -The trunk remained on the hilltop and was turned to stone. - -Soon after this Mimer found that Siegfried longed to see the world -and make himself famous. So he bound the sword Balmung to the young -prince's side, and told him to seek a certain person, who would give -him a fine war-horse. - -Siegfried went to this man, from whom he obtained a matchless steed. -In fact it had descended from the great god Odin's magic horse. -Siegfried, you can see, must have lived in a time when men believed in -gods and other wonderful beings. - -He was now all ready for his adventures, but before starting out, Mimer -told him of a great treasure of gold guarded by a fearful serpent. This -treasure was spread out over a plain called the Glittering Heath. No -man had yet been able to take it, because of its terrible guardian. - -Siegfried was not in the least frightened by the stories he heard of -the monster. He started out on his dangerous errand with a heart full -of courage. - -At last, he drew near the plain. He could see it on the other side of -the Rhine, from the hilltop where he was standing. With no one to help -him, not even taking his magic horse with him, he hurried down the -hillside and sprang into a boat on the shore. - -An old man had charge of the boat, and as he rowed Siegfried across, -he gave him good advice. This old man, as it happened, was the god -Odin, who loved Siegfried and wished to see him succeed. - -"Dig a deep trench along the path the serpent has worn on his way -to the river when in search of water," said the old boatman. "Hide -yourself in the trench, and, as the serpent passes along, you must -thrust your sword deep into his body." - -It was good advice. Siegfried did as Odin directed him. He went to work -on the trench at once. It was soon finished, and then the young prince, -sword in hand, was lying in watch for the dread monster. - -He did not have long to wait. He soon heard the sound of rolling -stones. Then came a loud hiss, and immediately afterward he felt the -serpent's fiery breath on his cheek. - -And now the serpent rolled over into the ditch, and Siegfried was -covered by the folds of his huge body. He did not fear or falter. He -thrust Balmung, his wonderful sword, deep into the monster's body. The -blood poured forth in such torrents that the ditch began to fill fast. - -It was a time of great danger for Siegfried. He would have been drowned -if the serpent in his death-agony had not rolled over on one side and -given him a chance to free himself. - -In a moment more he was standing, safe and sound, by the side of the -ditch. His bath in the serpent's blood had given him a great blessing. -Hereafter it would be impossible for any one to wound him except in one -tiny place on his shoulder. A leaf had fallen on this spot, and the -blood had not touched it. - -"What did Siegfried do with the golden treasure?" asked Hans, when his -father had reached this point in the story. - -"He had not sought it for himself, but for Mimer's sake. All he cared -for was the power of killing the serpent." - -As soon as this was done, Mimer drew near and showed himself ungrateful -and untrue. He was so afraid Siegfried would claim some of the treasure -that he secretly drew Balmung from out the serpent's body, and made -ready to thrust it into Siegfried. - -But at that very moment his foot slipped in the monster's blood, and he -fell upon the sword and was instantly killed. - -Siegfried was filled with horror when he saw what had happened. He -sprang upon his horse's back and fled as fast as possible from the -dreadful scene. - -"What happened to Siegfried after that? Did he have any more -adventures?" asked Bertha. - -"Yes, indeed. There were enough to fill a book. But there is one in -particular you girls would like to hear. It is about a beautiful -princess whom he freed from a spell which had been cast upon her." - -"What was her name, papa?" asked Gretchen. - -"Brunhild, the Queen of Isenland. She had been stung by the thorn of -sleep." - -Odin, the great god, had said, "Brunhild shall not awake till some -hero is brave enough to fight his way through the flames which shall -constantly surround the palace. He must then go to the side of the -sleeping maiden and break the charm by a kiss upon her forehead." - -When Siegfried, in his wanderings, heard the story of Brunhild, he -said, "I will make my way through the flames and will myself rescue the -fair princess." - -He leaped upon the back of his magic steed, and together they fought -their way through the fire that surrounded the palace of the sleeping -beauty. He reached the gates in safety. There was no sign of life about -the place. Every one was wrapped in a deep sleep. - -Siegfried made his way to the room of the enchanted princess. Ah! there -she lay, still and beautiful, with no knowledge of what was going on -around her. - -The young knight knelt by her side. Leaning over her, he pressed a kiss -upon her forehead. She moved slightly; then, opening her blue eyes, she -smiled sweetly upon her deliverer. - -At the same moment every one else in the palace woke up and went on -with whatever had been interrupted when sleep overcame them. - -Siegfried remained for six months with the fair Brunhild and her court. -Every day was given up to music and feasting, games and songs. Time -passed like a beautiful dream. No one knows how long the young knight -might have enjoyed this happy life if Odin had not sent two birds, -Thought and Memory, to remind him there were other things for him yet -to do. - -He did not stop to bid Brunhild farewell, but leaped upon his horse's -back and rode away in search of new adventures. - -"Dear me, children," exclaimed their father, looking at the clock, "it -is long past the time you should be in your soft, warm beds." - -"Papa, do you know what day to-morrow is?" whispered Bertha, as she -kissed him good night. - -"My darling child's birthday. It is ten years to-morrow since your eyes -first looked upon the sunlight. They have been ten happy years to us -all, though our lives are full of work. What do you say to that, my -little one?" - -"Very happy, papa dear. You and mother are so kind! I ought to be good -as well as happy." - -"She is a faithful child," said her mother, after Bertha had left the -room. "That is why I have a little surprise ready for to-morrow. I have -baked a large birthday cake and shall ask her little friends to share -it with her. - -"Her aunt has finished the new dress I bought for her, and I have made -two white aprons, besides. She will be a happy child when she sees her -presents." - -The mother closed her eyes and made a silent prayer to the All-Father -that Bertha's life should be as joyful as her tenth birthday gave -promise of being. - - -THE END. - - - - -THE LITTLE COUSIN SERIES - - -The most delightful and interesting accounts possible of child life in -other lands, filled with quaint sayings, doings, and adventures. - -Each one vol., 12mo, decorative cover, cloth, with six or more -full-page illustrations in color. - - Price per volume 0.60 - -_By MARY HAZELTON WADE (unless otherwise indicated)_ - - =Our Little African Cousin= - - =Our Little Alaskan Cousin= - By Mary F. Nixon-Roulet - - =Our Little Arabian Cousin= - By Blanche McManus - - =Our Little Armenian Cousin= - - =Our Little Brown Cousin= - - =Our Little Canadian Cousin= - By Elizabeth R. Macdonald - - =Our Little Chinese Cousin= - By Isaac Taylor Headland - - =Our Little Cuban Cousin= - - =Our Little Dutch Cousin= - By Blanche McManus - - =Our Little English Cousin= - By Blanche McManus - - =Our Little Eskimo Cousin= - - =Our Little French Cousin= - By Blanche McManus - - =Our Little German Cousin= - - =Our Little Hawaiian Cousin= - - =Our Little Hindu Cousin= - By Blanche McManus - - =Our Little Indian Cousin= - - =Our Little Irish Cousin= - - =Our Little Italian Cousin= - - =Our Little Japanese Cousin= - - =Our Little Jewish Cousin= - - =Our Little Korean Cousin= - By H. Lee M. Pike - - =Our Little Mexican Cousin= - By Edward C. Butler - - =Our Little Norwegian Cousin= - - =Our Little Panama Cousin= - By H. Lee M. Pike - - =Our Little Philippine Cousin= - - =Our Little Porto Rican Cousin= - - =Our Little Russian Cousin= - - =Our Little Scotch Cousin= - By Blanche McManus - - =Our Little Siamese Cousin= - - =Our Little Spanish Cousin= - By Mary F. Nixon-Roulet - - =Our Little Swedish Cousin= - By Claire M. Coburn - - =Our Little Swiss Cousin= - - =Our Little Turkish Cousin= - - - - -THE GOLDENROD LIBRARY - - -The Goldenrod Library contains stories which appeal alike both to -children and to their parents and guardians. - -Each volume is well illustrated from drawings by competent artists, -which, together with their handsomely decorated uniform binding, -showing the goldenrod, usually considered the emblem of America, is a -feature of their manufacture. - - Each one volume, small 12mo, illustrated 0.35 - - -LIST OF TITLES - - =Aunt Nabby's Children.= By Frances Hodges White. - =Child's Dream of a Star, The.= By Charles Dickens. - =Flight of Rosy Dawn, The.= By Pauline Bradford Mackie. - =Findelkind.= By Ouida. - =Fairy of the Rhone, The.= By A. Comyns Carr. - =Gatty and I.= By Frances E. Crompton. - =Helena's Wonderworld.= By Frances Hodges White. - =Jerry's Reward.= By Evelyn Snead Barnett. - =La Belle Nivernaise.= By Alphonse Daudet. - =Little King Davie.= By Nellie Hellis. - =Little Peterkin Vandike.= By Charles Stuart Pratt. - =Little Professor, The.= By Ida Horton Cash. - =Peggy's Trial.= By Mary Knight Potter. - =Prince Yellowtop.= By Kate Whiting Patch. - =Provence Rose, A.= By Ouida. - =Seventh Daughter, A.= By Grace Wickham Curran. - =Sleeping Beauty, The.= By Martha Baker Dunn. - =Small, Small Child, A.= By E. Livingston Prescott. - =Susanne.= By Frances J. Delano. - =Water People, The.= By Charles Lee Sleight. - =Young Archer, The.= By Charles E. Brimblecom. - - - - -COSY CORNER SERIES - - - It is the intention of the publishers that this - series shall contain only the very highest and purest - literature,--stories that shall not only appeal to the - children themselves, but be appreciated by all those - who feel with them in their joys and sorrows. - - The numerous illustrations in each book are by - well-known artists, and each volume has a separate - attractive cover design. - - Each 1 vol., 16mo, cloth 0.50 - - -_By ANNIE FELLOWS JOHNSTON_ - - -=The Little Colonel.= (Trade Mark.) - -The scene of this story is laid in Kentucky. Its heroine is a small -girl, who is known as the Little Colonel, on account of her fancied -resemblance to an old-school Southern gentleman, whose fine estate and -old family are famous in the region. - - -=The Giant Scissors.= - -This is the story of Joyce and of her adventures in France. Joyce is a -great friend of the Little Colonel, and in later volumes shares with -her the delightful experiences of the "House Party" and the "Holidays." - - -=Two Little Knights of Kentucky.= - -WHO WERE THE LITTLE COLONEL'S NEIGHBORS. - -In this volume the Little Colonel returns to us like an old friend, but -with added grace and charm. She is not, however, the central figure of -the story, that place being taken by the "two little knights." - - -=Mildred's Inheritance.= - -A delightful little story of a lonely English girl who comes to America -and is befriended by a sympathetic American family who are attracted by -her beautiful speaking voice. By means of this one gift she is enabled -to help a school-girl who has temporarily lost the use of her eyes, and -thus finally her life becomes a busy, happy one. - - -=Cicely and Other Stories for Girls.= - -The readers of Mrs. Johnston's charming juveniles will be glad to learn -of the issue of this volume for young people. - - -=Aunt 'Liza's Hero and Other Stories.= - -A collection of six bright little stories, which will appeal to all -boys and most girls. - - -=Big Brother.= - -A story of two boys. The devotion and care of Steven, himself a small -boy, for his baby brother, is the theme of the simple tale. - - -=Ole Mammy's Torment.= - -"Ole Mammy's Torment" has been fitly called "a classic of Southern -life." It relates the haps and mishaps of a small negro lad, and tells -how he was led by love and kindness to a knowledge of the right. - - -=The Story of Dago.= - -In this story Mrs. Johnston relates the story of Dago, a pet monkey, -owned jointly by two brothers. Dago tells his own story, and the -account of his haps and mishaps is both interesting and amusing. - - -=The Quilt That Jack Built.= - -A pleasant little story of a boy's labor of love, and how it changed -the course of his life many years after it was accomplished. - - -=Flip's Islands of Providence.= - -A story of a boy's life battle, his early defeat, and his final -triumph, well worth the reading. - - -_By EDITH ROBINSON_ - - -=A Little Puritan's First Christmas.= - -A Story of Colonial times in Boston, telling how Christmas was invented -by Betty Sewall, a typical child of the Puritans, aided by her brother -Sam. - - -=A Little Daughter of Liberty.= - -The author introduces this story as follows: - -"One ride is memorable in the early history of the American Revolution, -the well-known ride of Paul Revere. Equally deserving of commendation -is another ride,--the ride of Anthony Severn,--which was no less -historic in its action or memorable in its consequences." - - -=A Loyal Little Maid.= - -A delightful and interesting story of Revolutionary days, in which the -child heroine, Betsey Schuyler, renders important services to George -Washington. - - -=A Little Puritan Rebel.= - -This is an historical tale of a real girl, during the time when the -gallant Sir Harry Vane was governor of Massachusetts. - - -=A Little Puritan Pioneer.= - -The scene of this story is laid in the Puritan settlement at -Charlestown. - - -=A Little Puritan Bound Girl.= - -A story of Boston in Puritan days, which is of great interest to -youthful readers. - - -=A Little Puritan Cavalier.= - -The story of a "Little Puritan Cavalier" who tried with all his boyish -enthusiasm to emulate the spirit and ideals of the dead Crusaders. - - -=A Puritan Knight Errant.= - -The story tells of a young lad in Colonial times who endeavored to -carry out the high ideals of the knights of olden days. - - -_By OUIDA (Louise de la Ramée)_ - - -=A Dog of Flanders:= A CHRISTMAS STORY. - -Too well and favorably known to require description. - - -=The Nurnberg Stove.= - -This beautiful story has never before been published at a popular price. - - -_By FRANCES MARGARET FOX_ - - -=The Little Giant's Neighbours.= - -A charming nature story of a "little giant" whose neighbours were the -creatures of the field and garden. - - -=Farmer Brown and the Birds.= - -A little story which teaches children that the birds are man's best -friends. - - -=Betty of Old Mackinaw.= - -A charming story of child-life, appealing especially to the little -readers who like stories of "real people." - - -=Brother Billy.= - -The story of Betty's brother, and some further adventures of Betty -herself. - - -=Mother Nature's Little Ones.= - -Curious little sketches describing the early lifetime, or "childhood," -of the little creatures out-of-doors. - - -=How Christmas Came to the Mulvaneys.= - -A bright, lifelike little story of a family of poor children, with an -unlimited capacity for fun and mischief. The wonderful never-to-be -forgotten Christmas that came to them is the climax of a series of -exciting incidents. - - -_By MISS MULOCK_ - - -=The Little Lame Prince.= - -A delightful story of a little boy who has many adventures by means of -the magic gifts of his fairy godmother. - - -=Adventures of a Brownie.= - -The story of a household elf who torments the cook and gardener, but is -a constant joy and delight to the children who love and trust him. - - -=His Little Mother.= - -Miss Mulock's short stories for children are a constant source of -delight to them, and "His Little Mother," in this new and attractive -dress, will be welcomed by hosts of youthful readers. - - -=Little Sunshine's Holiday.= - -An attractive story of a summer outing. "Little Sunshine" is another -of those beautiful child-characters for which Miss Mulock is so justly -famous. - - -_By MARSHALL SAUNDERS_ - - -=For His Country.= - -A sweet and graceful story of a little boy who loved his country; -written with that charm which has endeared Miss Saunders to hosts of -readers. - - -=Nita, the Story of an Irish Setter.= - -In this touching little book, Miss Saunders shows how dear to her heart -are all of God's dumb creatures. - - -=Alpatok, the Story of an Eskimo Dog.= - -Alpatok, an Eskimo dog from the far north, was stolen from his master -and left to starve in a strange city, but was befriended and cared for, -until he was able to return to his owner. Miss Saunders's story is -based on truth, and the pictures in the book of "Alpatok" are based on -a photograph of the real Eskimo dog who had such a strange experience. - - -_By WILL ALLEN DROMGOOLE_ - - -=The Farrier's Dog and His Fellow.= - -This story, written by the gifted young Southern woman, will appeal to -all that is best in the natures of the many admirers of her graceful -and piquant style. - - -=The Fortunes of the Fellow.= - -Those who read and enjoyed the pathos and charm of "The Farrier's Dog -and His Fellow" will welcome the further account of the adventures of -Baydaw and the Fellow at the home of the kindly smith. - - -=The Best of Friends.= - -This continues the experiences of the Farrier's dog and his Fellow, -written in Miss Dromgoole's well-known charming style. - - -=Down in Dixie.= - -A fascinating story for boys and girls, of a family of Alabama children -who move to Florida and grow up in the South. - - -_By MARIAN W. WILDMAN_ - - -=Loyalty Island.= - -An account of the adventures of four children and their pet dog on -an island, and how they cleared their brother from the suspicion of -dishonesty. - - -=Theodore and Theodora.= - -This is a story of the exploits and mishaps of two mischievous twins, -and continues the adventures of the interesting group of children in -"Loyalty Island." - - -_By CHARLES G. D. ROBERTS_ - - -=The Cruise of the Yacht Dido.= - -The story of two boys who turned their yacht into a fishing boat to -earn money to pay for a college course, and of their adventures while -exploring in search of hidden treasure. - - -=The Young Acadian.= - -The story of a young lad of Acadia who rescued a little English girl -from the hands of savages. - - - =The Lord of the Air.= - THE STORY OF THE EAGLE - - - =The King of the Mamozekel.= - THE STORY OF THE MOOSE - - - =The Watchers of the Camp-fire.= - THE STORY OF THE PANTHER - - - =The Haunter of the Pine Gloom.= - THE STORY OF THE LYNX - - - =The Return to the Trails.= - THE STORY OF THE BEAR - - - =The Little People of the Sycamore.= - THE STORY OF THE RACCOON - - -_By OTHER AUTHORS_ - - -=The Great Scoop.= - -_By MOLLY ELLIOT SEAWELL_ - -A capital tale of newspaper life in a big city, and of a bright, -enterprising, likable youngster employed thereon. - - -=John Whopper.= - -The late Bishop Clark's popular story of the boy who fell through the -earth and came out in China, with a new introduction by Bishop Potter. - - -=The Dole Twins.= - -_By KATE UPSON CLARK_ - -The adventures of two little people who tried to earn money to buy -crutches for a lame aunt. An excellent description of child-life about -1812, which will greatly interest and amuse the children of to-day, -whose life is widely different. - - -=Larry Hudson's Ambition.= - -_By JAMES OTIS_, author of "Toby Tyler," etc. - -Larry Hudson is a typical American boy, whose hard work and enterprise -gain him his ambition,--an education and a start in the world. - - -=The Little Christmas Shoe.= - -_By JANE P. SCOTT WOODRUFF_ - -A touching story of Yule-tide. - - -=Wee Dorothy.= - -_By LAURA UPDEGRAFF_ - -A story of two orphan children, the tender devotion of the eldest, -a boy, for his sister being its theme and setting. With a bit of -sadness at the beginning, the story is otherwise bright and sunny, and -altogether wholesome in every way. - - -=The King of the Golden River:= A LEGEND OF STIRIA. - -_By JOHN RUSKIN_ - -Written fifty years or more ago, and not originally intended for -publication, this little fairy-tale soon became known and made a place -for itself. - - -=A Child's Garden of Verses.= - -_By R. L. STEVENSON_ - -Mr. Stevenson's little volume is too well known to need description. It -will be heartily welcomed in this new and attractive edition. - - * * * * * - -Transcriber's Note: - -Obvious punctuation errors repaired. - - - - - - -End of Project Gutenberg's Our Little German Cousin, by Mary Hazelton Wade - -*** END OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE GERMAN COUSIN *** - -***** This file should be named 43832-8.txt or 43832-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/8/3/43832/ - -Produced by Emmy, Beth Baran and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -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/43832-8.zip b/43832-8.zip Binary files differdeleted file mode 100644 index 381de3c..0000000 --- a/43832-8.zip +++ /dev/null diff --git a/43832-h.zip b/43832-h.zip Binary files differdeleted file mode 100644 index e89b189..0000000 --- a/43832-h.zip +++ /dev/null diff --git a/43832-h/43832-h.htm b/43832-h/43832-h.htm index 99f7cca..48948d3 100644 --- a/43832-h/43832-h.htm +++ b/43832-h/43832-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 Our Little German Cousin, by Mary Hazelton Wade. @@ -110,47 +110,7 @@ table { </style> </head> <body> - - -<pre> - -Project Gutenberg's Our Little German Cousin, by Mary Hazelton Wade - -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: Our Little German Cousin - -Author: Mary Hazelton Wade - -Illustrator: L. J. Bridgman - -Release Date: September 28, 2013 [EBook #43832] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE GERMAN COUSIN *** - - - - -Produced by Emmy, Beth Baran and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43832 ***</div> <div class="figcenter" style="width: 532px;"> <img src="images/cover.jpg" width="532" height="800" alt="Cover" /> @@ -3500,7 +3460,7 @@ of olden days.</p> -<div class='adauthor'><i>By OUIDA</i> (<i>Louise de la Ramée</i>)</div> +<div class='adauthor'><i>By OUIDA</i> (<i>Louise de la Ramée</i>)</div> <div class='adtitle2'>A Dog of Flanders: <span class="smcap">A Christmas Story</span>.</div> @@ -3800,383 +3760,6 @@ need description.</p> Obvious punctuation errors repaired.</div> - - - - - - - - -<pre> - - - - - -End of Project Gutenberg's Our Little German Cousin, by Mary Hazelton Wade - -*** END OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE GERMAN COUSIN *** - -***** This file should be named 43832-h.htm or 43832-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/3/8/3/43832/ - -Produced by Emmy, Beth Baran and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - -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 43832 ***</div> </body> </html> diff --git a/43832.zip b/43832.zip Binary files differdeleted file mode 100644 index 7f04225..0000000 --- a/43832.zip +++ /dev/null |
