diff options
45 files changed, 17 insertions, 4075 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..cb44e17 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51731 (https://www.gutenberg.org/ebooks/51731) diff --git a/old/51731-0.txt b/old/51731-0.txt deleted file mode 100644 index 634b073..0000000 --- a/old/51731-0.txt +++ /dev/null @@ -1,1678 +0,0 @@ -The Project Gutenberg EBook of The Mentor: American Pioneer Prose Writers, -Vol. 4, Num. 6, Serial No. 106, May 1, 1916, by Hamilton W. Mabie - -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/license - - -Title: The Mentor: American Pioneer Prose Writers, - Vol. 4, Num. 6, Serial No. 106, May 1, 1916 - -Author: Hamilton W. Mabie - -Release Date: April 11, 2016 [EBook #51731] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN PIONEER PROSE WRITERS *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - - - - - - THE MENTOR 1916.05.01, No. 106, - American Pioneer Prose Writers - - LEARN ONE THING - EVERY DAY - - MAY 1 1916 SERIAL NO. 106 - - THE - MENTOR - - AMERICAN PIONEER - PROSE WRITERS - - By HAMILTON W. MABIE - Author and Editor - - DEPARTMENT OF VOLUME 4 - LITERATURE NUMBER 6 - - FIFTEEN CENTS A COPY - - - - -Fame In Name Only - - -What do we really know of them--these library gods of ours? We know -them by name; their names are household words. We know them by fame; -their fame is immortal. So we pay tribute to them by purchasing their -books--and, too often, rest satisfied with that. The riches that they -offer us are within arm’s length, and we leave them there. We go our -ways seeking for mental nourishment, when our larders at home are full. - - * * * * * - -Three hundred years ago last week William Shakespeare died, but -Shakespeare, the poet, is more alive today than when his bones were -laid to rest in Stratford. It was not until seven years after his -death that the first collected edition of his works was published. -Today there are thousands of editions, and new ones appear each year. -It seems that we must all have Shakespeare in our homes. And why? Is -it simply to give character to our bookshelves; or is it because we -realize that the works of Shakespeare and of his fellow immortals are -the foundation stones of literature, and that we want to be near them -and know them? - - * * * * * - -We value anniversaries most of all as occasions for placing fresh -wreaths of laurel on life’s altars. In the memory of Shakespeare, then, -let us pledge ourselves anew to our library gods. Let us turn their -glowing pages again--and read once more those inspired messages of mind -and heart in which we find life’s meaning. - - - - -[Illustration: JONATHAN EDWARDS] - - - - -American Pioneer Prose Writers - -JONATHAN EDWARDS - -Monograph Number One in The Mentor Reading Course - - -Jonathan Edwards was one of the most impressive figures of his time. -He was a deep thinker, a strong writer, a powerful theologian, and -a constructive philosopher. He was born on October 5, 1703, at East -(now South) Windsor, Connecticut. His father, Timothy Edwards, was a -minister of East Windsor, and also a tutor. Jonathan, the only son, was -the fifth of eleven children. - -Even as a boy he was thoughtful and serious minded. It is recorded that -he never played the games, or got mixed up in the mischief that the -usual boy indulges in. When he was only ten years old he wrote a tract -on the soul. Two years later he wrote a really remarkable essay on the -“Flying Spider.” He entered Yale and graduated at the head of his class -as valedictorian. The next two years he spent in New Haven studying -theology. In February, 1727, he was ordained minister at Northampton, -Massachusetts. In the same year he married Sarah Pierrepont, who was an -admirable wife and became the mother of his twelve children. - -In 1733 a great revival in religion began in Northampton. So intense -did this become in that winter that the business of the town was -threatened. In six months nearly 300 were admitted to the church. Of -course Edwards was a leading spirit in this revival. The orthodox -leaders of the church had no sympathy with it. At last a crisis came in -Edwards’ relations with his congregation, which finally ended in his -being driven from the church. - -Edwards and his family were now thrown upon the world with nothing -to live on. After some time he became pastor of an Indian mission at -Stockbridge, Massachusetts. He preached to the Indians through an -interpreter, and in every way possible defended their interests against -the whites, who were trying to enrich themselves at the expense of the -red men. - -President Burr of the College of New Jersey (now Princeton University) -died in 1757. Five years before he had married one of Edwards’ -daughters. Jonathan Edwards was elected to his place, and installed -in February, 1758. There was smallpox in Princeton at this time, and -the new president was inoculated for it. His feeble constitution could -not bear the shock, and he died on March 22. He was buried in the old -cemetery at Princeton. - -Edwards in personal appearance was slender and about six feet tall, -with an oval, gentle, almost feminine face which made him look the -scholar and the mystic. But he had a violent temper when aroused, and -was a strict parent. He did not allow his boys out of doors after nine -o’clock at night, and if any suitor of his daughter remained beyond -that hour he was quietly but forcibly informed that it was time to lock -up the house. - -Jonathan Edwards would not be called an eloquent speaker today; but his -sermons were forceful, and charged with his personality. These sermons -were written in very small handwriting, with the lines close together. -It was Edwards’ invariable habit to read them. He leaned with his left -elbow on the cushion of the pulpit, and brought the finely written -manuscript close to his eyes. He used no gestures; but shifted from -foot to foot while reading. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: BENJAMIN FRANKLIN] - - - - -American Pioneer Prose Writers - -BENJAMIN FRANKLIN - -Monograph Number Two in The Mentor Reading Course - - -Probably no American of humble origin ever attained to more enduring -fame than many-sided Benjamin Franklin. The secret of his rise can be -tersely told. He had ceaseless energy, guided by a passion for the -improvement of mankind. A recital of his accomplishments sounds like a -round of the old counting game, “doctor, lawyer, merchant, chief.” He -was, in fact, all the list except the “thief.” - -Boston gave him to America on January 17, 1706, but Philadelphia -claimed him early, and he stamped himself upon the Quaker City almost -as definitely as did William Penn. - -Passing over his precocious boyhood, when he wrote for the Boston -publication of his brother James with a skill that at the time was held -astonishing, the day he reached Philadelphia he was a great, overgrown -boy, his clothes most unsightly; for he had been wrecked trying to make -an economical trip from New York by sailboat. With the exception of a -single Dutch dollar he was penniless. As he trudged about the streets, -his big eyes drinking in the sights, his cupid-bow mouth ready to smile -at the slightest provocation, he munched a roll of bread. His reserve -food supply was a loaf under each arm. - -He was an expert printer, and printers were wanted in Philadelphia. He -soon got a job, after which he found a boarding place in the home of -one Read, with whose daughter, Deborah, he promptly fell in love. - -After a few years the governor of Pennsylvania urged him to go to -London to purchase a printing plant of his own. The official had -promised to send letters and funds aboard the ship in the mail-bag; but -at the critical moment forgot all about it. So young Franklin landed in -London without a cent, and played a short engagement as “beggar man.” - -Again his skill as a printer saved him from want, and he remained five -years, having a most interesting time, meeting many of the great men of -England, all of whom were charmed with his wit and philosophy. - -In all that period he did not write a single letter to Deborah Read; -yet he seemed surprised and hurt on his return to Philadelphia to find -the young woman married to another. But Deborah’s husband, who had -treated her cruelly, quite civilly left her a widow, so that Franklin, -careless but faithful, was able ultimately to claim her as his wife. - -For the next twenty years Franklin did something new at almost every -turn. He flew a kite in a thunder shower, drew down electricity, -and invented the lightning rod, to the salvation of generations of -rural sales agents. He invented a stove that still holds his name. He -organized the first fire company in America, and founded the first -public library. All the while he was publishing “Poor Richard’s -Almanac,” which to this day ranks as an epigrammatic masterpiece. - -American politics soon claimed Franklin as an ideal diplomatist. -English and Scottish universities honored him with degrees for his -discoveries and writings. In Paris he became the most popular man of -the period, and was overwhelmed with attention from all classes. - -He was one of the first signers of the Declaration of Independence; and -he rounded out his political career as governor of Pennsylvania and one -of the framers of the Constitution. He died in Philadelphia in April, -1790, in some respects the greatest of Americans. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: CHARLES BROCKDEN BROWN] - - - - -American Pioneer Prose Writers - -CHARLES BROCKDEN BROWN - -Monograph Number Three in The Mentor Reading Course - - -Charles Brockden Brown has often been called the earliest American -novelist; but today his books are very rarely read. All of them are -romantic and weird, with incidents bordering on the supernatural. They -are typical of the kind of novel general at the time Brown lived. - -He was born on January 17, 1771, in Philadelphia. His parents were -Quakers. As a boy his health was bad, and since he was not able to -join with other boys in outdoor sports he spent most of his time in -study. His principal amusement was the invention of ideal architectural -designs, planned on the most extensive and elaborate scale. Later this -bent for construction developed into schemes for ideal commonwealths. -Still later it showed itself in the elaborate plots of his novels. - -Brown planned in the early part of his life to study law; but his -constitution was too feeble for this arduous work. He had his share of -the youthful dreams of great literary conquests. He planned a great -epic on the discovery of America, with Columbus as his hero; another -with the adventures of Pizarro for the subject; and still another -upon the conquests of Cortes. However, as with the case of many great -dreams, they were given up. - -When he was still a boy he wrote a romance called “Carsol,” which -was not published, however, until after his death. The next thing he -wrote was an essay on the question of women’s rights and liberties. -This question was already becoming an important one in England, where -William Godwin and Mary Wollstonecraft were publishing their writings. -Brown was much influenced by the works of both. - -Although Brown’s books make heavy reading, yet his companionships were -of the liveliest. It was said that no man ever had truer friends or -loved these friends better. One of his closest friends was Dr. Eli -Smith, a literary man. It was through him that Brown was introduced -into the Friendly Club of New York City, where he met many other -workers in the literary field. And it was under their influence that he -produced his first, important work. - -This was a novel published in 1798, called “Wieland, or the -Transformation.” A mystery, seemingly inexplicable, is solved as a -case of ventriloquism, which at that time was just beginning to be -understood thoroughly. His next book was “Arthur Mervyn,” remarkable -for its description of the epidemic of yellow fever in Philadelphia. -“Edgar Huntley,” a romance rich in local color, followed this. An -effective use is made of somnambulism, and in it Brown anticipates -James Fenimore Cooper’s introduction of the American Indian into -fiction. - -The novelist then wrote two novels dealing with ordinary life; but they -proved to be failures. Then he began to compile a general system of -geography, to edit a periodical, and to write political pamphlets; but -all the time his health was failing. On February 22, 1810, he died of -tuberculosis. - -His biographer, William Dunlap, who was the novelist’s friend, says -that Brown was the purest and most amiable of men, due perhaps to his -Quaker education. His manner was at times a little stiff and formal; -but in spite of this he was deeply loved by his friends. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: WASHINGTON IRVING] - - - - -American Pioneer Prose Writers - -WASHINGTON IRVING - -Monograph Number Four in The Mentor Reading Course - - -A bankruptcy produced one of the greatest American writers. If the -business house with which Washington Irving was associated had not -failed, he might never have seriously attempted to take up literature. - -Washington Irving was born in New York City on April 3, 1783. He was -named after George Washington, who at that time was the idol of the -American people. Both his parents were immigrants from Great Britain. -His father was a prosperous merchant at the time of Irving’s birth. - -Irving was a mischievous boy. Perhaps this was due to the fact that -Deacon Irving was a severe father. He detested the theater, and -permitted no reading on Sunday except the Bible and the Catechism. -Washington was permitted on weekdays to read only Gulliver’s Travels -and Robinson Crusoe. Nevertheless, in spite of his father’s strictness, -the boy managed to steal away from home to attend the theater. - -Irving intended to be a lawyer; but his health gave way, and he had -to take a voyage to Europe. In this journey he went as far as Rome, -and in England made the acquaintance of Washington Allston, the famous -American painter, who was then living there. On his return he was -admitted to the bar; but he made little effort at practising. - -In the meanwhile, however, he, his brother William, and J. K. Paulding -wrote some humorous sketches called “Salmagundi Papers,” which were -quite successful. - -About this time came the single romance of Irving’s life. Judge -Hoffman, in whose law office he was, had a daughter named Matilda. -The young lawyer fell in love with her; but this romance was brought -to a tragic end by her death. Irving never married, remaining true -throughout life to the memory of this early attachment. - -Irving’s first important piece of writing was the Knickerbocker History -of New York. It was a clever parody of a history of the city published -by Dr. Samuel Mitchell. The book was received with enthusiasm by the -public, and Irving’s reputation was made. - -His health, never of the best, again gave way. In 1815 he revisited -Europe, and made the acquaintance of many important people there, -including Disraeli, Campbell, and Scott. The business in which he was -a silent partner fell into bad conditions and ended with a bankruptcy -which left Irving virtually without resources. His brother, who was -an influential member of Congress, secured for him a secretaryship in -the United States Navy Department with a salary of $2,500 a year; but -Irving declined this, with the intention of writing for a living. - -From that time he was successful. All his books were eagerly received, -and it was not long before he was considered America’s leading writer. -He went to Spain as attaché of the American legation in 1826. When he -returned to the United States he found his name a household word. Then -he decided to settle down somewhere in the country and quietly enjoy -life. He built a delightful home on the Hudson River, New York, to -which he gave the name of “Sunnyside,” where he spent his last years. -His charming personality attracted to him many friends, and there were -no worries to bother him. He continued his writing to the very last. -He died of heart disease at Sunnyside on November 28, 1859. On the day -of his funeral all the shops in Tarrytown were closed and draped in -mourning. Both sides of the road leading to his grave at Sleepy Hollow -were crowded with sorrowful mourners. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: JAMES KIRKE PAULDING] - - - - -American Pioneer Prose Writers - -JAMES KIRKE PAULDING - -Monograph Number Five in The Mentor Reading Course - - - “Peter Piper picked a peck of pickled peppers; - Where is the peck of pickled peppers Peter Piper picked?” - -It is rather unusual to find that the most familiar writing of an -author is merely a bit of nonsense. Yet the verse of James Kirke -Paulding best known to us today is the tongue-twister quoted above. He -wrote poetry, most of which is gracefully commonplace, and a good many -novels, attractive in style but of no great interest. - -James Kirke Paulding was born in Dutchess County, New York, on August -22, 1779. He attended the village school for a short time; but in 1800 -went to New York City, where, in connection with his brother-in-law, -William Irving, and Washington Irving, another of the American pioneer -prose writers, he began to publish in January, 1807, a series of short, -lightly humorous articles called the “Salmagundi Papers.” In 1814 a -political pamphlet of his, “The United States and England,” attracted -the notice of President Madison. He was favorably impressed, and the -next year appointed him secretary to the Board of Navy Commissioners. -He held this position until November, 1823. He was navy agent in New -York City from 1825 to 1837. - -Paulding was always a successful man of affairs and an able politician. -In recognition of his ability, President Van Buren made him a member of -his cabinet in 1837 as Secretary of the Navy. - -Later he retired to Poughkeepsie, New York, where he divided his time -between writing and farming. He died on April 6, 1860. - -Paulding came of good old Knickerbocker blood. In his work he never -liked to revise what he had already written, nor did he plan out his -books. His best known work is perhaps the “Dutchman’s Fireside,” which -has many pleasing pages of Dutch life. - -He also wrote a number of poems; but these do not measure up to the -standards of good poetry. One of them, “The Backwoodsman,” extends over -three thousand lines, few of which may be termed good. - -Paulding was one of the first distinctively American writers. From -his father, an active Revolutionary patriot, he inherited strong -anti-British sentiments. Throughout his life he was a vigorous -protester against intellectual thraldom to the mother country. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -[Illustration: JAMES FENIMORE COOPER] - - - - -American Pioneer Prose Writers - -JAMES FENIMORE COOPER - -Monograph Number Six in The Mentor Reading Course - - -James Fenimore Cooper was one of the most popular writers that ever -lived. Almost every American has read some or all of Cooper’s books, -and his stories have been translated into nearly all the languages of -Europe, and indeed into some of Asia. Balzac, the French novelist, -admired him greatly. Victor Hugo, another famous French writer, said -that Cooper was greater than any novelist living at that time. Many of -Cooper’s readers gave him the title of “The American Walter Scott.” - -Cooper was born at Burlington, New Jersey, September 15, 1789. His -boyhood was spent in the wild country around Otsego Lake, New York. His -father was a judge and a member of Congress. Cooper entered Yale at the -early age of fourteen, and was the youngest student on the rolls. - -At college he did not pay much attention to his studies, and in fact -was rather wayward. Before he had even completed his junior year, his -resignation was requested. His father interceded for him; but it was -useless. The young man then entered the United States navy; but, after -becoming a midshipman, he resigned to marry. He then settled down in -Westchester County, New York. His home life proved to be most happy. - -He published his first book, “Precaution,” anonymously. Then came “The -Spy,” in 1821, a success from the very first. Many novels followed in -rapid succession. In 1826 he went to Paris, where he published “The -Prairie,” which many consider the best of all his books. He became very -popular abroad. The most distinguished people of Europe felt honored to -entertain him. - -In 1833 he returned to America, where he discovered that his popularity -was declining, as American critics did not believe that his later -books were measuring up to his earlier standard. He resented the sharp -criticism of several of his writings, and much ill feeling grew up -between the novelist and the public. - -In particular he was on bad terms with his neighbors in the village -of Cooperstown, New York, where he lived. This came to a climax -in a fierce quarrel over the ownership of a bit of woodland which -extended into the lake near his home, Otsego Hall. Cooper won in the -courts;--but the villagers evened things up with him by personal -attacks. Law-suits followed one after another. Although Cooper -pretended indifference to public opinion, nevertheless he suffered -under the abusive attacks. - -Cooper was not on intimate terms with the prominent literary men of his -day. Toward the end of his life he loved his home more and more. He -was fond of walking in the woods and fields, and, as he himself said, -he had “an old man’s yearning for the solemn shadows of the trees.” -On September 14, 1851, he died peacefully in his home at Cooperstown, -surrounded by members of his family. - - PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION - ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106 - COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC. - - - - -AMERICAN PIONEER PROSE WRITERS - -By HAMILTON W. MABIE - -_Author and Critic_ - -[Illustration: FRANKLIN IN 1784 - -MODELED BY GIUSEPPE CENACHI] - -THE MENTOR - -MAY 1, 1916 · DEPARTMENT OF LITERATURE - - MENTOR GRAVURES - - JONATHAN EDWARDS - BENJAMIN FRANKLIN - CHARLES BROCKDEN BROWN - WASHINGTON IRVING - JAMES KIRKE PAULDING - JAMES FENIMORE COOPER - - -[Illustration: JONATHAN EDWARDS’ MEETING HOUSE - -Built 1737--Torn down 1812] - -The literatures of the great nations have begun with the childhood of -those nations; that is to say, with fairy tales and legends and songs -of heroism; with Homer’s “Iliad” and “Odyssey,” the Song of Beowulf -(bay´-o-wulf), to name a few among many of the great beginnings of -writing. In this country the pioneer writers shared the conditions of -the pioneer builders of homes and communities. They were not, however, -a people in their intellectual infancy. The country was new; but the -people were old. They had all left literature of a high order behind -them. Many of them must have been familiar with poetry and prose in -English, French, and German, to say nothing of the classic literature -which the scholars knew; and there were many scholars, north and south, -among the early settlers. - -The exploration and settlement of the country was a great adventure, -which involved not only peril, but very hard work. In every colony -people had to begin at the beginning,--to get roofs over their heads -to protect them from the climate, to raise the things they were to -eat, to protect themselves from the Indians,--to do a thousand things -of which people of our day are unconscious because they were done so -long ago. The distances between the colonies were great, the means of -communication were slow and infrequent, and the colonists knew very -little of one another. They were isolated communities, not in any -sense a nation. And so the early writing was the expression of the -experiences and convictions of small communities. There cannot be a -national literature until there is a national consciousness; and in the -early days in America there was not even a sectional consciousness. -There was only local consciousness. - -[Illustration: THE JONATHAN EDWARDS ELM, Northampton, Mass. - -Set by Jonathan Edwards in 1730--The house of Josiah D. Whitney stands -on the right of Edwards’ house] - -The first book written on the continent was by that flamboyant, but -very versatile Virginia colonist, Captain John Smith; a brave soldier, -with a very warm and highly inventive imagination, whose habit of -boasting has robbed him of a great deal of credit which really belonged -to him. He wrote an account of adventures in Virginia, which may be -taken as the beginning of American writing, and still has value. There -was a long interval during which the writing of the colonists was -devoted to theological discussion, or to accounts of the new world in -which they were living. - -A large part of the early writings of New England was more or less -theological; but none of this writing rose to the rank of literature -until Jonathan Edwards appeared in the first half of the eighteenth -century. - - -JONATHAN EDWARDS - -The son of a minister who was a lover of learning as well as of -religion, like a great many other ministers of his time in New England, -who prepared young men for college, and gave his daughters the same -kind of instruction in the same subjects. Edwards was also the grandson -of a minister on his mother’s side; and his ancestry, like his -descendants, was notable for intellectual vigor. He graduated from Yale -College at the age of thirteen,--not an uncommon happening in that day -of few entrance requirements,--and the qualities of his mind and the -direction of his taste are indicated by the fact that he was already -making notes on the mind and on natural philosophy. He studied for the -ministry, and when he was twenty-four years old settled at Northampton, -Massachusetts, where he was fortunate enough to marry a woman as -remarkable as himself, of whom he wrote a description which has become -a classic in the literature of love. Edwards was pursued by a haunting -sense of sinfulness, and the depravity of the world often weighed -heavily upon him. Mrs. Edwards happily combined a piety equal to that -of her husband with great cheerfulness of disposition. - -[Illustration: HOUSE IN BOSTON IN WHICH FRANKLIN WAS BORN, 1706] - -[Illustration: MEDALLION OF FRANKLIN, Age 72 - -By Jean Baptiste Nini] - -[Illustration: FRANKLIN’S GRAVE - -Fifth and Arch Sts., Philadelphia] - - -EDWARDS AS AN AUTHOR - -A man of his intensity was certain to come into collision with some of -the ideas held by his contemporaries and with much of their practice; -and Edwards finally antagonized his congregation to such a degree -that at the age of fifty-six he preached his farewell sermon. Several -avenues of work were open to him, for he had become a man of wide -reputation; but he settled at Stockbridge, Massachusetts, and wrote -in the quiet of what was then a wilderness his famous treatise on “The -Freedom of the Will,” which is probably the most important American -contribution to philosophy. It is his sermons, however, rather than his -treatises, which entitle his work to a place in the history of American -literature. Between eleven and twelve hundred of these sermons are -preserved in Yale University Library. They are characterized by great -vigor of thought, intensity of feeling, and often impressive power of -statement. One of them, more famous, though in some respects not so -true a piece of literature as others, “Sinners in the Hands of an Angry -God,” created great commotion in its time, and the glow of the fire -which possessed the preacher has not yet wholly faded from its pages. - -[Illustration: FRANKLIN, from a painting by D. Martin] - - -LITERATURE OF THE REVOLUTION - -As the War of the Revolution approached the colonists began to have -hopes and fears in common, and the war was preceded by a war of words. -The grievances of the colonists were stated many times, sometimes with -great force of reasoning and clearness; and a literature of discussion -and debate, which reached the public largely through pamphlets, came -into existence. Samuel Adams of Massachusetts wrote a stirring defense -of the rights of the colonists. James Adams, James Otis, and Thomas -Jefferson came to the front in this discussion; and their writing took -on the dignity of literature. - -[Illustration: FRANKLIN] - - -THOMAS PAINE - -One of the most vigorous contributors to this discussion was Thomas -Paine, an Englishman by birth, whose ability as a writer attracted the -attention of Benjamin Franklin, then in London, at whose suggestion -Paine came to America. He had already made himself somewhat noted as -a radical critic of the English government and political system, and -within a year of his arrival in this country became editor of the -Pennsylvania Magazine. His “Common Sense,” a pamphlet published in -1776, was a very vigorous argument in favor of severing all ties with -the mother country. The argument was put so strongly, and at the same -time with such simplicity, that it made a great impression on all -kinds of people, and the Pennsylvania legislature, in recognition of -the services he had rendered to the American cause, made him a gift -of five hundred pounds. This pamphlet was immediately translated into -various European languages. His “Crisis,” which was published from time -to time during the war, was also of great importance to the Americans, -and the first number was read by order of Washington to every regiment -in the colonial army. This was in the terrible winter of 1776, and -the spirit and courage expressed in these papers did much to relieve -the despondency of the time. The “Age of Reason,” an attack on the -Bible, published in 1794, shocked the world, and so beclouded Paine’s -reputation that his great service to the country has been largely -overlooked. - -[Illustration: CHARLES BROCKDEN BROWN - -By Wm. Dunlap--1806] - - -BENJAMIN FRANKLIN - -If one wanted to name three men who are in a supreme degree -representative of three leading American types, he would not go far -astray if he named Franklin, Emerson, and Lincoln. Several years -before the Revolution Hume described Franklin as “The First and indeed -the first great Man of Letters in America”; and Dr. Johnson, in that -most delightful exploitation of ignorance and eloquence, “Taxation No -Tyranny,” described him as “a master of mischief.” Franklin was then -one of the foremost representatives of the colonists, and one of the -most ardent advocates of their claims. For thirty years Europe knew -more about him than any other man in America, not excepting Washington. -He was a Bostonian by birth, the son of a tallow chandler. He had a -casual contact with the Boston Latin School; but his formal education -was finished in his eleventh year, when he began to work as a general -utility boy in his father’s shop. He was fond of reading, and was -fortunate enough to possess Bunyan’s works, and a little later he was -reading Robinson Crusoe and other works by Defoe, who undoubtedly had -great influence on his style. His love of books inclined him to the -printer’s trade, and his self-education went on rapidly. Another piece -of good fortune was finding a volume of the Spectator. He has given a -very interesting account of his use of this classic of sound, clear -English prose, and has described its influence on his language and -style. Then he read Xenophon’s “Memorabilia,” which gave him a clear -idea of the Socratic method of discussion. At the age of fifteen he was -already writing for the colonial press, contributing essays notable for -their very sensible moralizing and their practical wisdom; for Franklin -was, and still is, the representative of American practical sagacity -and commonsense. - - -POOR RICHARD’S ALMANAC - -Fame and fortune came to him with the publication of Poor Richard’s -Almanac, which began in 1732 and was continued for a quarter of a -century. These almanacs went into almost every house in America, -and served not only as calendars, lists of events, warnings about -the weather, with doggerel verses, but furnished proverbs of a very -practical character, and also margins on which all sorts of notes could -be written. “Keep thy shop and thy shop will keep thee,” is a good -example of “Poor Richard’s” practical wisdom. His personal experience -at home and abroad made Franklin in many ways the most conspicuous -American of his time. His industry is shown by the fact that his work -fills a hundred and seven volumes. In this mass of writing, of greatest -importance is his Autobiography, which told the story of his life from -his childhood to his arrival in London in 1757. It is a straight, -clear, unpretentious piece of writing, and, all things considered, -must be considered one of the most important original contributions to -American literature. - -[Illustration: MATILDA HOFFMAN - -By Malbone] - -[Illustration: WASHINGTON IRVING - -From the painting by Gilbert Stuart Newton] - -[Illustration: BUST OF IRVING IN BRYANT PARK, NEW YORK CITY] - - -JOHN WOOLMAN - -[Illustration: SUNNYSIDE, IRVING’S HOME NEAR TARRYTOWN, N. Y.] - -[Illustration: TABLET BY V. D. BRENNER, ON WASHINGTON IRVING HIGH -SCHOOL, NEW YORK CITY] - -If John Woolman’s work had borne any resemblance to that of Jonathan -Edwards, Charles Lamb would never have said of it, “Learn Woolman’s -work by heart.” It was as far as possible removed from the Dantesque -vigor of the Puritan preacher. Woolman was a Quaker, born in New -Jersey, with very few educational opportunities, but of a naturally -religious nature, and seemed early, though in a perfectly normal way, -to have thought of the world as the creation of a great and benignant -God. Like many other naturally serious youths of his time, as of -Bunyan’s time, he was sorely beset by a consciousness of sinfulness, -which he expressed in terms that today seem morbid in their intensity. -He accused himself of offenses of which it is quite certain that -he was innocent; but he began very early to understand the gospel -of love and to desire above everything else to live in complete -harmony with the will of God. He was not satisfied, however, to do -this by simply obeying the law of righteousness or acquiescing in a -will which he could not oppose. He was eager to make his obedience -positive and active; so he became one of the earliest antislavery men -in the country, and one of the most ardent. His genius saved him from -fanaticism; while his simple earnestness and his effective appeal to -the higher ideals of his auditors made him a persuasive speaker. He -hated slavery; but he never attacked the slaveholder. His nature was -one of singular purity and harmony; and as he had no self-consciousness -and no ambition, and writing was simply a means of expression, his -nature got into his style. Although an illiterate Quaker, an English -critic declared that “He writes in a style of the most exquisite purity -and grace.” His Journal, which is considered one of the classics -of early American literature, is an unaffected and intimate record -of his thoughts, feelings, and experiences. It was begun in his -thirty-seventh year. It is not in any sense great literature; but it is -real literature, and as contrasted with all the colonial writing, save -that of Edwards and Franklin, it stands out by reason of the purity of -its style and the beauty of its feeling and thought. - -[Illustration: JAMES K. PAULDING, by Jarvis] - -The note of mystery was struck early in American writing, “Peter Rugg,” -by William Austin, appearing in the New England Galaxy in 1824-1826. - - -CHARLES BROCKDEN BROWN - -Charles Brockden Brown’s stories were published still earlier; and -he is often spoken of as the predecessor of Hawthorne. Like Francis -Hopkinson, he was a Philadelphian, who studied law and made literature -his profession. His first novel, “Wieland, or The Transformation,” was -a story of ventriloquism, very artificial, but skilful and interesting. -This was followed by a much more striking tale, “Edgar Huntley,” a -tale of terror, which seemed to predict Poe, and this in turn by three -or four other novels. Brown was an industrious man, and his activity -extended into other fields. He published a number of pamphlets and -semiscientific treatises. His work had little permanent value. It was -sentimental and unreal, and lacked art; but its morbid psychology and a -certain kind of intensity gave it popularity at the time. - -[Illustration: PAULDING’S HOME AT PLEASANT VALLEY, N. Y.] - - -WASHINGTON IRVING - -American literature in the strictest sense of the word really began -in the city of New York with the publication of Washington Irving’s -Knickerbocker History of New York. New York was then the most -cosmopolitan of all cities of the New World, as it was the largest. -It was a pleasant town of twenty-five thousand people, and it had -picturesque traditions; for it was first settled by the Dutch, who had, -in a way, taken possession of the Hudson River. They were followed -in turn by the English, and still later there was a large influx of -French Huguenots. When the Revolution broke out eighteen languages were -already spoken in the city of New York. It was natural, therefore, -that the literature of imagination, of humor, and of sentiment should -find a soil in the cosmopolitan society of the town; and Irving, who -was born in the year in which the British troops embarked for England, -who declined to go to college, as his brothers had gone, but read -law and, probably with greater avidity, books of general literature, -and was a lover of nature, had both the temperament and the taste to -write gentle satire. He was a born observer and loiterer, a man who -saw and felt and meditated. He had the high spirit of youth, and when -he returned in 1806 from Europe he was still a young man, and there -were some other gifted young men in New York to keep him company. They -published anonymously a series of semi-humorous, satirical comments -on men, women, and things social, dramatic, and literary, under the -title “Salmagundi,” and in these papers Irving’s humor, sentiment, -and delightful style were conspicuous. They were followed by the -Knickerbocker History of New York, in which the audacious young man -broadly burlesqued the ancestors of some of the foremost people in New -York. It was good-natured; but it gave great offense. It was, however, -the first book of quality and feeling written by an American. In 1815 -Irving went to Europe a second time, and did not return until 1832. -During that interval he published two books, which made a reputation -for him on both sides of the Atlantic, “Bracebridge Hall” and “The -Sketch-Book.” These books made the colonists, irritated by their long -discussion with England, more tolerant of the mother country, because -they recalled places and customs that had been dear to their ancestors, -or to their own youth. Thackeray called Irving “the first ambassador -whom the new world of letters sent to the old.” - -[Illustration: BIRTHPLACE OF COOPER, Burlington, N. J. - -The center house is the home of Capt. James Lawrence] - -[Illustration: OTSEGO HALL, COOPERSTOWN, N. Y. - -Cooper’s boyhood home] - -[Illustration: COOPER IN 1822, painted by J. W. Jarvis] - - -JAMES K. PAULDING - -One of the most prominent members of the little company of young men -subsequently known as the Knickerbocker writers, who were all friends -of Irving, was James K. Paulding, whose youth fell in the period of the -Revolutionary War. In consequence he received very little education, -but had great vigor of mind and energy of character. He early became -acquainted with Washington Irving, and a strong friendship grew up -between them. Paulding was one of the contributors to the Salmagundi -papers, and began early to write for various periodicals. His diverting -history of “John Bull and Brother Jonathan” passed through many -editions, and his satirical tendency made him popular at a time when -the feeling in this country against Great Britain was very strong. -A pamphlet entitled “The United States and England,” which appeared -in 1814, secured political preferment for Paulding, and he was made -secretary to the first board of navy commissioners. A story published -in 1831, “The Dutchman’s Fireside,” founded on an earlier description -of the manners of the early Dutch settlers, was his most successful -production, passing through six editions in a year, and being -republished abroad and translated into several languages. Paulding’s -talent, although genuine, was not distinctive enough to secure his -permanent reputation; but he remains a very interesting figure in a -group of delightful writers, and his early skits, if they may be so -called, were very keen satirical comments on some offensive British -traits and qualities. - - -JAMES FENIMORE COOPER - -[Illustration: BUST OF COOPER - -David d’Angers--1828] - -[Illustration: LEATHER STOCKING MONUMENT AT COOPERSTOWN] - -Cooper, who was also a New Yorker, published “The Spy” in 1821. -“Precaution,” his first effort in fiction, which had already appeared, -was a study of English society life, about which Cooper knew very -little, and it was a failure. In “The Spy,” Cooper knew his ground -and his people. He had spent much of his boyhood at Cooperstown, in -central New York, near the scene of much of the Indian fighting. He -had heard stories of adventure from Indian fighters and trappers. Many -of the men who had fought in the American ranks during the War of the -Revolution were still living. “The Spy” was instantly popular, because -it was the first really American novel written by an American. It dealt -with a very interesting character, Harvey Birch; and it appealed alike -to the men who knew of the war from experience, and to those who had -been brought up to revere the veterans of the Revolution. Europe, too, -was intensely curious about the Indian, and the stories that followed, -especially those in the Leather Stocking Tales, were translated into -almost every European tongue, and are still read in all parts of the -Old World. Boys in remote German villages are still playing Cooper’s -Indians. - -Cooper was a very uneven writer, careless, and indifferent about -artistic effects. He was often diffuse and often commonplace, and he -had not much skill in drawing portraits of men and women; but he could -tell a story rapidly and dramatically. He knew how to keep his readers -in suspense, and he knew nature, both on land and at sea. - - -SUPPLEMENTARY READING - - INTRODUCTION TO AMERICAN LITERATURE _By Henry S. Pancoast_ - - BRIEF HISTORY OF AMERICAN LITERATURE _By W. P. Trent_ - An excellent treatment of the subject - in brief. - - A STUDY OF PROSE FICTION _By Bliss Perry_ - A scholarly work by a distinguished - critical writer. - - ASPECTS OF FICTION _By Brander Matthews_ - An informing and also a charming - literary study by a recognized - authority. - - LITERARY HISTORY OF AMERICA _By Prof. Barrett Wendell_ - - HISTORY OF LITERATURE IN AMERICA _By Prof. Barrett Wendell - and C. N. Greenough_ - A condensed survey of the subject. - - MATERIALS AND METHODS OF FICTION _By Clayton Hamilton_ - A simple, interesting, practical book. - - AMERICAN LANDS AND LETTERS _By Donald G. Mitchell (Ik Marvel)_ - A most attractive work, valuable in - its informing qualities, and written - in most delightful style by the - author of “Reveries of a Bachelor.” - - - - -THE OPEN LETTER - - -Why The Mentor? What’s in the name? We might have chosen any one -of fifty names beside The Mentor. We had a list of fully 100 names -before we made our selection. And the material that we have supplied -under the name of “Mentor” would have served its purpose as well -under another name. But we chose our name very carefully. There’s a -reason for “Mentor.” And yet, although we are now a little over three -years old and number nearly 100,000 in membership, no one has asked -the reason--at least until a few weeks ago. Then one of our earliest -members put the question, “What or who is The Mentor?” The question was -slow in coming, but I am glad it is here, because the answer is worth -while. - - * * * * * - -Mentor was a very worthy individual of ancient Greece. You can read -about him in Homer’s “Odyssey.” He was the son of Alcimus and the -faithful friend of Ulysses (Odysseus). When Ulysses set forth on his -long wanderings, he consigned his household and his family, including -his son Telemachus to the care of his friend Mentor. So faithful was -Mentor in his attention to Telemachus and so serviceable to him in -precept and example that his name has now come to be used in the sense -of a wise and trustworthy advisor--“a wise and faithful guide and -friend” as a modern dictionary phrases it. - - * * * * * - -The name of Mentor was brought down nearer to our time by the eminent -French writer, philosopher, and churchman, Fenelon, archbishop of -Cambria. He lived in the time of the Grand Monarch, Louis XIV, and -so wise and cultivated was he that the king made him tutor to his -grandson, the Duke of Burgundy, eldest son of the dauphin, and eventual -heir to the throne. In the course of his tutorship, and for purposes of -instruction, Fenelon wrote several remarkable books--prose poems, in -their way, but each having a distinct moral purpose either religious -or political. In one of these, published in 1699, and entitled -“Telemaque,” Fenelon recounts the adventures of the son of Ulysses in -search of his father. It is a Utopian novel dealing with conditions of -life in an idealistic way, and hovering between dreams and realities. -Its object was to educate the young Duke of Burgundy’s mind to the -highest purposes of life as they should be regarded by royalty--to keep -before his eyes the “great and holy maxim that kings exist for the sake -of their subjects, not subjects for the sake of kings.” In this book -the character of “Mentor” figures prominently. His aims are educational -in a gentle, lofty way, his hope being, as he puts it himself, “to -change the tastes and habits of the people.” - - * * * * * - -It was more due to Fenelon’s employment of the character of “Mentor” -than to that of Homer, that the name “Mentor” came into use as a modern -word. “Mentor” now stands for a wise instructor and a guide, but, first -and foremost, a friend. The underlying principle of “Mentor” is an -interest in the welfare and improvement of others, and the dominating -purpose of his life is _service_ to others. - - * * * * * - -So for that reason we selected the name. And when we made the selection -we thought that we were the first to use the name in the field of -periodical publication. We lived in that illusion but a short time. -Scarcely six months had gone by before we learned anew the old lesson -that the world is small and that there are many active minds in it. One -morning a plain, unpretentious periodical came into our office bearing -on its front the title “The Mentor,” and with it came a friendly -letter of greeting from its editor. The place of publication was the -Charlestown Jail, and the object of the periodical was to reflect in -prose and verse the daily life of the occupants of that quiet and -secure retreat. The editor extended his greetings to me and asked me if -I would exchange with him--not positions, but periodicals. The request -was readily granted, and, as a result, we are now thoroughly informed -of the affairs of that substantial institution of Charlestown, and we -are carrying our message of information twice a month to the members of -the exclusive community located there. - -[Illustration: W. D. Moffat - -EDITOR] - - - - -THE MENTOR ASSOCIATION - - -ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST IN ART, -LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL - -THE ADVISORY BOARD - - JOHN G. HIBBEN, _President of Princeton University_ - HAMILTON W. MABIE, _Author and Editor_ - JOHN C. VAN DYKE, _Professor of the History of Art, Rutgers College_ - ALBERT BUSHNELL HART, _Professor of Government, Harvard University_ - WILLIAM T. HORNADAY, _Director New York Zoological Park_ - DWIGHT L. ELMENDORF, _Lecturer and Traveler_ - -THE MENTOR IS PUBLISHED TWICE A MONTH - -SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. -CANADIAN POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN CENTS. -PRESIDENT, THOMAS H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; -SECRETARY, W. D. MOFFAT; TREASURER, ROBERT M. DONALDSON; ASST. -TREASURER AND ASST. SECRETARY, J. S. CAMPBELL - - * * * * * - -COMPLETE YOUR MENTOR LIBRARY - -Subscriptions always begin with the current issue. The following -numbers of The Mentor Course, already issued, will be sent postpaid at -the rate of fifteen cents each. - - Serial - No. - - 1. Beautiful Children in Art - 2. Makers of American Poetry - 3. Washington, the Capital - 4. Beautiful Women in Art - 5. Romantic Ireland - 6. Masters of Music - 7. Natural Wonders of America - 8. Pictures We Love to Live With - 9. The Conquest of the Peaks - 10. Scotland, the Land of Song and Scenery - 11. Cherubs in Art - 12. Statues With a Story - 13. Story of America in Pictures: The Discoverers - 14. London - 15. The Story of Panama - 16. American Birds of Beauty - 17. Dutch Masterpieces - 18. Paris, the Incomparable - 19. Flowers of Decoration - 20. Makers of American Humor - 21. American Sea Painters - 22. Story of America in Pictures: The Explorers - 23. Sporting Vacations - 24. Switzerland: The Land of Scenic Splendors - 25. American Novelists - 26. American Landscape Painters - 27. Venice, the Island City - 28. The Wife in Art - 29. Great American Inventors - 30. Furniture and Its Makers - 31. Spain and Gibraltar - 32. Historic Spots of America - 33. Beautiful Buildings of the World - 34. Game Birds of America - 35. Story of America in Pictures: The Contest for North America - 36. Famous American Sculptors - 37. The Conquest of the Poles - 38. Napoleon - 39. The Mediterranean - 40. Angels in Art - 41. Famous Composers - 42. Egypt, the Land of Mystery - 43. Story of America in Pictures: The Revolution - 44. Famous English Poets - 45. Makers of American Art - 46. The Ruins of Rome - 47. Makers of Modern Opera - 48. Dürer and Holbein - 49. Vienna, the Queen City - 50. Ancient Athens - 51. The Barbizon Painters - 52. Abraham Lincoln - -Volume 2 - - 53. George Washington - 54. Mexico - 55. Famous American Women Painters - 56. The Conquest of the Air - 57. Court Painters of France - 58. Holland - 59. Our Feathered Friends - 60. Glacier National Park - 61. Michelangelo - 62. American Colonial Furniture - 63. American Wild Flowers - 64. Gothic Architecture - 65. The Story of the Rhine - 66. Shakespeare - 67. American Mural Painters - 68. Celebrated Animal Characters - 69. Japan - 70. The Story of the French Revolution - 71. Rugs and Rug Making - 72. Alaska - 73. Charles Dickens - 74. Grecian Masterpieces - 75. Fathers of the Constitution - 76. Masters of the Piano - -Volume 3 - - 77. American Historic Homes - 78. Beauty Spots of India - 79. Etchers and Etching - 80. Oliver Cromwell - 81. China - 82. Favorite Trees - 83. Yellowstone National Park - 84. Famous Women Writers of England - 85. Painters of Western Life - 86. China and Pottery of Our Forefathers - 87. The Story of The American Railroad - 88. Butterflies - 89. The Philippines - 90. Great Galleries of The World: The Louvre - 91. William M. Thackeray - 92. Grand Canyon of Arizona - 93. Architecture in American Country Homes - 94. The Story of The Danube - 95. Animals in Art - 96. The Holy Land - 97. John Milton - 98. Joan Of Arc - 99. Furniture of the Revolutionary Period - 100. The Ring of the Nibelung - -Volume 4 - - 101. The Golden Age of Greece - 102. Chinese Rugs - 103. The War of 1812 - 104. Great Galleries of the World: The National Gallery, London - 105. Masters of the Violin - - * * * * * - -THE MENTOR ASSOCIATION. Inc., 52 East Nineteenth Street, New York, N. Y. - -Statement of the ownership, management, circulation, etc., required -by the Act of Congress of August 24, 1912, of The Mentor, published -semi-monthly at New York. N. Y., for April 1, 1916. State of New -York, County of New York. ss. Before me, a Notary Public in and for -the State and county aforesaid, personally appeared Thomas H. Beck, -who, having been duly sworn according to law, deposes and says that -he is the Publisher of The Mentor, and that the following is, to the -best of his knowledge and belief, a true statement of the ownership, -management, etc., of the aforesaid publication for the date shown in -the above caption, required by the Act of August 24, 1912, embodied in -section 443, Postal Laws and Regulations, to wit: (1) That the names -and addresses of the publisher, editor, managing editor, and business -managers are: Publisher, Thomas H. Beck, 52 East 19th Street, New -York; Editor, W. D. Moffat, 52 East 19th Street, New York; Managing -Editor, W. D. Moffat, 52 East 19th Street, New York; Business Manager, -Thomas H. Beck, 52 East 19th Street, New York. (2) That the owners -are: American Lithographic Company, 52 East 19th Street, New York; C. -Eddy, L. Ettlinger, J. P. Knapp, C. K. Mills, 52 East 19th Street, -New York; M. C. Herezog, 28 West 10th Street, New York; William T. -Harris, Villa Nova, Pa.; Mrs. M. E. Heppenheimer, 51 East 58th Street, -New York: Emilie Schumacher, Executrix for Luise E. Schumacher and -Walter L. Schumacher Mount Vernon, N. Y., Samuel Untermyer, 37 Wall -Street, New York. (3) That the known bondholders, mortgagees, and other -security holders owning or holding 1 per cent or more of total amount -of bonds, mortgages, or other securities, are: None. (4) That the two -paragraphs next above, giving the names of the owners, stockholders, -and security holders, if any, contain not only the list of stockholders -and security holders as they appear upon the books of the Company, but -also, in cases where the stockholder or security holder appears upon -the books of the Company as trustee or in any other fiduciary relation. -The name of the person or corporation for whom such trustee is acting, -is given; also that the said two paragraphs contain statements -embracing affiant’s full knowledge and belief as to the circumstances -and conditions under which stockholders and security holders who do -not appear upon the books of the Company as trustees, hold stock and -securities in a capacity other than that of a bona fide owner; and this -affiant has no reason to believe that any other person, association, -or corporation has any interest direct or indirect in the said stock, -bonds, or other securities than as so stated by him. Thomas H. Beck, -Publisher. Sworn to and subscribed before me this twenty-first day of -March, 1916. J. S. Campbell, Notary Public, Queens County. Certificate -filed in New York County. My commission expires March 30, 1917. - - - - -THE MENTOR - -THE MENTOR LIBRARY - - -Back numbers of The Mentor are as valuable now as at the date of issue. -Each individual copy goes to form a cumulative library--The Mentor -Library--comprising a collection of facts indispensable to any one who -wants to be well informed. - -In attractiveness, The Mentor Library cannot be surpassed. By -graphically and vividly depicting interesting persons, places, events, -and works of art, it makes it easy for you to accumulate a growing -store of “worth while” knowledge. - -An Opportunity to Complete Your Mentor Library - -All but a few of our members have already completed their sets. Some, -however, have delayed. This announcement is intended for these few. -Please act quickly, for you may not have another opportunity to procure -all the previous issues on these special terms. - - Issues Nos. 1 to 100 inclusive $15.00 - Issues Nos. 1 to 90 inclusive 13.50 - Issues Nos. 1 to 80 inclusive 12.00 - Issues Nos. 1 to 70 inclusive 10.50 - Issues Nos. 1 to 60 inclusive 9.00 - Issues Nos. 1 to 50 inclusive 7.50 - Issues Nos. 1 to 40 inclusive 6.00 - Issues Nos. 1 to 30 inclusive 4.50 - Issues Nos. 1 to 20 inclusive 3.00 - Issues Nos. 1 to 10 inclusive 1.50 - -SINGLE COPIES FIFTEEN CENTS EACH - -Payable $1 on Receipt of Bill and $2 Monthly - -SEND NO MONEY NOW! Merely assure your being among the possessors of -complete Mentor Libraries by sending us your name and address, together -with a statement of the issues that you desire. - -THE MENTOR ASSOCIATION - -52 EAST NINETEENTH STREET--NEW YORK, N. Y. - -MAKE THE SPARE MOMENT COUNT - - - - - -End of the Project Gutenberg EBook of The Mentor: American Pioneer Prose -Writers, Vol. 4, Num. 6, Serial No, by Hamilton W. Mabie - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN PIONEER PROSE WRITERS *** - -***** This file should be named 51731-0.txt or 51731-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/7/3/51731/ - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -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 web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. diff --git a/old/51731-0.zip b/old/51731-0.zip Binary files differdeleted file mode 100644 index ade5172..0000000 --- a/old/51731-0.zip +++ /dev/null diff --git a/old/51731-h.zip b/old/51731-h.zip Binary files differdeleted file mode 100644 index 256fa1d..0000000 --- a/old/51731-h.zip +++ /dev/null diff --git a/old/51731-h/51731-h.htm b/old/51731-h/51731-h.htm deleted file mode 100644 index 1381b0d..0000000 --- a/old/51731-h/51731-h.htm +++ /dev/null @@ -1,2397 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of The Mentor 1916.05.01, - No. 106, American Pioneer Prose Writers, by Hamilton W. Mabie. - </title> - - <link rel="coverpage" href="images/cover.jpg" /> - -<style type="text/css"> - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2 { - text-align: center; - clear: both; -} - -h3 { - text-align: center; -} - -hr { - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; - margin-top: 2em; - margin-bottom: 2em; - clear: both; -} - -img.dropcap { - float: left; - margin: 0 0.5em 0 0; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -p.dropcap { - text-indent: 0em; -} - -p.dropcap:first-letter { - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} - -table { - max-width: 50em; - margin: auto; - border-collapse: collapse; -} - -ul { - list-style-type: none; - display: inline-block; - text-align: left; -} - -.bbox { - border: solid 2px; - padding: 1em; - margin-top: 2em; - width: 25em; - margin-left: auto; - margin-right: auto; -} - -.bbox-double { - border: double; - padding: 1em; - margin-top: 2em; - width: 35em; - margin-left: auto; - margin-right: auto; -} - -.blockquote { - margin-left: 10%; - margin-right: 10%; - margin-top: 1.5em; -} - -.bordered { - width: 100%; - border-top: solid 2px; - border-bottom: solid 2px; -} - -.bordered2 { - width: 100%; - border-top: double; -} - -.bordered3 { - width: 100%; - border-bottom: double; -} - -.caption { - text-align: center; - margin-bottom: 1em; - text-indent: 0em; - font-size: 90%; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.chapter { - width: 100%; - border-top: double; - border-bottom: solid thin; - margin-top: 2em; - page-break-before: always; -} - -.clearboth { - clear: both; -} - -.clearnone { - clear: none; -} - -.figcenter { - margin: auto; - text-align: center; - margin-top: 2em; -} - -.figleft { - float: left; - clear: left; - margin-left: 0; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 1em; - padding: 0; - text-align: center; -} - -.figmulti { - margin-left: 1em; - display: inline-block; - vertical-align: top; -} - -.figright { - float: right; - clear: right; - margin-left: 1em; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 0; - padding: 0; - text-align: center; -} - -.gesperrt { - letter-spacing: 0.2em; - margin-right: -0.2em; -} - -.noindent { - text-indent: 0em; -} - -.larger { - font-size: 150%; -} - -.container { - text-align: center; - margin: 1em; -} - -.poetry { - display: inline-block; - text-align: left; -} - -.poetry .verse { - text-indent: -3em; - padding-left: 3em; -} - -.right { - text-align: right; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; -} - -td { - vertical-align: top; - padding: 0.25em 0.25em 0.25em 1.5em; - text-indent: -0.5em; -} - -td.smaller { - text-indent: 1em; - padding: 0em 0.25em 0.25em 1.5em; - font-size: smaller; -} - -.tdr { - text-align: right; -} - -@media handheld { - -img { - max-width: 100%; - width: auto; - height: auto; -} - -img.dropcap { - display: none; -} - -.poetry { - display: block; - margin-left: 1.5em; -} - -.blockquote { - margin-left: 5%; - margin-right: 5%; -} - -p.dropcap:first-letter { - color: inherit; - visibility: visible; - margin-left: 0; -} -} - </style> - </head> -<body> - - -<pre> - -The Project Gutenberg EBook of The Mentor: American Pioneer Prose Writers, -Vol. 4, Num. 6, Serial No. 106, May 1, 1916, by Hamilton W. Mabie - -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/license - - -Title: The Mentor: American Pioneer Prose Writers, - Vol. 4, Num. 6, Serial No. 106, May 1, 1916 - -Author: Hamilton W. Mabie - -Release Date: April 11, 2016 [EBook #51731] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN PIONEER PROSE WRITERS *** - - - - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<h1>THE MENTOR 1916.05.01, No. 106,<br /> -American Pioneer Prose Writers</h1> - -<div class="figcenter" style="width: 481px;"> -<img src="images/cover.jpg" width="481" height="700" alt="Cover page" /> -</div> - -<div class="bbox"> - -<p class="center gesperrt smaller">LEARN ONE THING<br /> -EVERY DAY</p> - -<p class="smaller noindent">MAY 1 1916</p> - -<p class="right smaller noindent" style="margin-top: -2em;">SERIAL NO. 106</p> - -<p class="center larger">THE<br /> -MENTOR</p> - -<p class="center">AMERICAN PIONEER<br /> -PROSE WRITERS</p> - -<p class="center smaller">By HAMILTON W. MABIE<br /> -Author and Editor</p> - -<p class="smaller noindent">DEPARTMENT OF<br /> -LITERATURE</p> - -<p class="right smaller noindent" style="margin-top: -3em;">VOLUME 4<br /> -NUMBER 6</p> - -<p class="center smaller">FIFTEEN CENTS A COPY</p> - -</div> - -<hr /> - -<div class="bbox-double"> - -<h2>Fame In Name Only</h2> - -<div class="figcenter" style="width: 100px;"> -<img src="images/book.jpg" width="100" height="97" alt="(decorative)" /> -</div> - -<p>What do we really know of them—these library gods -of ours? We know them by name; their names -are household words. We know them by fame; their -fame is immortal. So we pay tribute to them by purchasing -their books—and, too often, rest satisfied with that. -The riches that they offer us are within arm’s length, and -we leave them there. We go our ways seeking for mental -nourishment, when our larders at home are full.</p> - -<div class="figcenter" style="width: 150px;"> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<p>Three hundred years ago last week William Shakespeare -died, but Shakespeare, the poet, is more alive -today than when his bones were laid to rest in Stratford. -It was not until seven years after his death that the first -collected edition of his works was published. Today -there are thousands of editions, and new ones appear -each year. It seems that we must all have Shakespeare -in our homes. And why? Is it simply to give character -to our bookshelves; or is it because we realize that the -works of Shakespeare and of his fellow immortals are the -foundation stones of literature, and that we want to be -near them and know them?</p> - -<div class="figcenter" style="width: 150px;"> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<p>We value anniversaries most of all as occasions for -placing fresh wreaths of laurel on life’s altars. In -the memory of Shakespeare, then, let us pledge ourselves -anew to our library gods. Let us turn their glowing pages -again—and read once more those inspired messages of -mind and heart in which we find life’s meaning.</p> - -</div> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate1.jpg" width="460" height="650" alt="" /> -<p class="caption">JONATHAN EDWARDS</p> -</div> - -<div class="chapter"> -<p class="center larger">American Pioneer Prose Writers</p> -</div> - -<h2>JONATHAN EDWARDS</h2> - -<p class="center">Monograph Number One in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-j.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Jonathan Edwards was one of the most impressive figures -of his time. He was a deep thinker, a strong writer, a -powerful theologian, and a constructive philosopher. He -was born on October 5, 1703, at East (now South) Windsor, -Connecticut. His father, Timothy Edwards, was a minister -of East Windsor, and also a tutor. Jonathan, the only son, was the fifth -of eleven children.</p> - -<p>Even as a boy he was thoughtful and serious minded. It is recorded -that he never played the games, or got mixed up in the mischief that -the usual boy indulges in. When he was only ten years old he wrote -a tract on the soul. Two years later he wrote a really remarkable -essay on the “Flying Spider.” He entered Yale and graduated at the -head of his class as valedictorian. The next two years he spent in New -Haven studying theology. In February, 1727, he was ordained minister -at Northampton, Massachusetts. In the same year he married -Sarah Pierrepont, who was an admirable wife and became the mother -of his twelve children.</p> - -<p>In 1733 a great revival in religion began in Northampton. So intense -did this become in that winter that the business of the town was threatened. -In six months nearly 300 were admitted to the church. Of course -Edwards was a leading spirit in this revival. The orthodox leaders of -the church had no sympathy with it. At last a crisis came in Edwards’ -relations with his congregation, which finally ended in his being driven -from the church.</p> - -<p>Edwards and his family were now thrown upon the world with -nothing to live on. After some time he became pastor of an Indian mission -at Stockbridge, Massachusetts. He preached to the Indians through -an interpreter, and in every way possible defended their interests against -the whites, who were trying to enrich themselves at the expense of the -red men.</p> - -<p>President Burr of the College of New Jersey (now Princeton University) -died in 1757. Five years before he had married one of Edwards’ -daughters. Jonathan Edwards was elected to his place, and installed in -February, 1758. There was smallpox in Princeton at this time, and the -new president was inoculated for it. His feeble constitution could not -bear the shock, and he died on March 22. He was buried in the old -cemetery at Princeton.</p> - -<p>Edwards in personal appearance was slender and about six feet tall, -with an oval, gentle, almost feminine face which made him look the -scholar and the mystic. But he had a violent temper when aroused, and -was a strict parent. He did not allow his boys out of doors after nine -o’clock at night, and if any suitor of his daughter remained beyond that -hour he was quietly but forcibly informed that it was time to lock up -the house.</p> - -<p>Jonathan Edwards would not be called an eloquent speaker today; -but his sermons were forceful, and charged with his personality. These -sermons were written in very small handwriting, with the lines close -together. It was Edwards’ invariable habit to read them. He leaned -with his left elbow on the cushion of the pulpit, and brought the finely -written manuscript close to his eyes. He used no gestures; but shifted -from foot to foot while reading.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate2.jpg" width="460" height="650" alt="" /> -<p class="caption">BENJAMIN FRANKLIN</p> -</div> - -<div class="chapter"> -<p class="center larger">American Pioneer Prose Writers</p> -</div> - -<h2>BENJAMIN FRANKLIN</h2> - -<p class="center">Monograph Number Two in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-p.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Probably no American of humble origin ever attained to -more enduring fame than many-sided Benjamin Franklin. -The secret of his rise can be tersely told. He had ceaseless -energy, guided by a passion for the improvement of mankind. -A recital of his accomplishments sounds like a round -of the old counting game, “doctor, lawyer, merchant, chief.” He was, -in fact, all the list except the “thief.”</p> - -<p>Boston gave him to America on January 17, 1706, but Philadelphia -claimed him early, and he stamped himself upon the Quaker City almost -as definitely as did William Penn.</p> - -<p>Passing over his precocious boyhood, when he wrote for the Boston -publication of his brother James with a skill that at the time was held -astonishing, the day he reached Philadelphia he was a great, overgrown -boy, his clothes most unsightly; for he had been wrecked trying to make -an economical trip from New York by sailboat. With the exception of a -single Dutch dollar he was penniless. As he trudged about the streets, -his big eyes drinking in the sights, his cupid-bow mouth ready to smile -at the slightest provocation, he munched a roll of bread. His reserve -food supply was a loaf under each arm.</p> - -<p>He was an expert printer, and printers were wanted in Philadelphia. -He soon got a job, after which he found a boarding place in the home of -one Read, with whose daughter, Deborah, he promptly fell in love.</p> - -<p>After a few years the governor of Pennsylvania urged him to go to -London to purchase a printing plant of his own. The official had promised -to send letters and funds aboard the ship in the mail-bag; but at -the critical moment forgot all about it. So young Franklin landed in London -without a cent, and played a short engagement as “beggar man.”</p> - -<p>Again his skill as a printer saved him from want, and he remained -five years, having a most interesting time, meeting many of the great -men of England, all of whom were charmed with his wit and philosophy.</p> - -<p>In all that period he did not write a single letter to Deborah Read; -yet he seemed surprised and hurt on his return to Philadelphia to find -the young woman married to another. But Deborah’s husband, who -had treated her cruelly, quite civilly left her a widow, so that Franklin, -careless but faithful, was able ultimately to claim her as his wife.</p> - -<p>For the next twenty years Franklin did something new at almost -every turn. He flew a kite in a thunder shower, drew down electricity, -and invented the lightning rod, to the salvation of generations of rural -sales agents. He invented a stove that still holds his name. He organized -the first fire company in America, and founded the first public -library. All the while he was publishing “Poor Richard’s Almanac,” -which to this day ranks as an epigrammatic masterpiece.</p> - -<p>American politics soon claimed Franklin as an ideal diplomatist. -English and Scottish universities honored him with degrees for his discoveries -and writings. In Paris he became the most popular man of -the period, and was overwhelmed with attention from all classes.</p> - -<p>He was one of the first signers of the Declaration of Independence; -and he rounded out his political career as governor of Pennsylvania and -one of the framers of the Constitution. He died in Philadelphia in -April, 1790, in some respects the greatest of Americans.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate3.jpg" width="460" height="650" alt="" /> -<p class="caption">CHARLES BROCKDEN BROWN</p> -</div> - -<div class="chapter"> -<p class="center larger">American Pioneer Prose Writers</p> -</div> - -<h2>CHARLES BROCKDEN BROWN</h2> - -<p class="center">Monograph Number Three in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-c.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">Charles Brockden Brown has often been called the -earliest American novelist; but today his books are very rarely -read. All of them are romantic and weird, with incidents -bordering on the supernatural. They are typical of the -kind of novel general at the time Brown lived.</p> - -<p>He was born on January 17, 1771, in Philadelphia. His parents were -Quakers. As a boy his health was bad, and since he was not able to join -with other boys in outdoor sports he spent most of his time in study. -His principal amusement was the invention of ideal architectural designs, -planned on the most extensive and elaborate scale. Later this -bent for construction developed into schemes for ideal commonwealths. -Still later it showed itself in the elaborate plots of his novels.</p> - -<p>Brown planned in the early part of his life to study law; but his constitution -was too feeble for this arduous work. He had his share of the -youthful dreams of great literary conquests. He planned a great epic -on the discovery of America, with Columbus as his hero; another with -the adventures of Pizarro for the subject; and still another upon the -conquests of Cortes. However, as with the case of many great dreams, -they were given up.</p> - -<p>When he was still a boy he wrote a romance called “Carsol,” which -was not published, however, until after his death. The next thing he -wrote was an essay on the question of women’s rights and liberties. -This question was already becoming an important one in England, -where William Godwin and Mary Wollstonecraft were publishing their -writings. Brown was much influenced by the works of both.</p> - -<p>Although Brown’s books make heavy reading, yet his companionships -were of the liveliest. It was said that no man ever had truer -friends or loved these friends better. One of his closest friends was Dr. -Eli Smith, a literary man. It was through him that Brown was introduced -into the Friendly Club of New York City, where he met many -other workers in the literary field. And it was under their influence that -he produced his first, important work.</p> - -<p>This was a novel published in 1798, called “Wieland, or the Transformation.” -A mystery, seemingly inexplicable, is solved as a case of ventriloquism, -which at that time was just beginning to be understood -thoroughly. His next book was “Arthur Mervyn,” remarkable for its -description of the epidemic of yellow fever in Philadelphia. “Edgar -Huntley,” a romance rich in local color, followed this. An effective use -is made of somnambulism, and in it Brown anticipates James Fenimore -Cooper’s introduction of the American Indian into fiction.</p> - -<p>The novelist then wrote two novels dealing with ordinary life; but -they proved to be failures. Then he began to compile a general system -of geography, to edit a periodical, and to write political pamphlets; but -all the time his health was failing. On February 22, 1810, he died of -tuberculosis.</p> - -<p>His biographer, William Dunlap, who was the novelist’s friend, says -that Brown was the purest and most amiable of men, due perhaps to his -Quaker education. His manner was at times a little stiff and formal; -but in spite of this he was deeply loved by his friends.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate4.jpg" width="460" height="650" alt="" /> -<p class="caption">WASHINGTON IRVING</p> -</div> - -<div class="chapter"> -<p class="center larger">American Pioneer Prose Writers</p> -</div> - -<h2>WASHINGTON IRVING</h2> - -<p class="center">Monograph Number Four in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">A bankruptcy produced one of the greatest American -writers. If the business house with which Washington Irving -was associated had not failed, he might never have seriously -attempted to take up literature.</p> - -<p>Washington Irving was born in New York City on April -3, 1783. He was named after George Washington, who at that time was -the idol of the American people. Both his parents were immigrants from -Great Britain. His father was a prosperous merchant at the time of -Irving’s birth.</p> - -<p>Irving was a mischievous boy. Perhaps this was due to the fact that -Deacon Irving was a severe father. He detested the theater, and permitted -no reading on Sunday except the Bible and the Catechism. Washington -was permitted on weekdays to read only Gulliver’s Travels and -Robinson Crusoe. Nevertheless, in spite of his father’s strictness, the -boy managed to steal away from home to attend the theater.</p> - -<p>Irving intended to be a lawyer; but his health gave way, and he -had to take a voyage to Europe. In this journey he went as far as Rome, -and in England made the acquaintance of Washington Allston, the -famous American painter, who was then living there. On his return -he was admitted to the bar; but he made little effort at practising.</p> - -<p>In the meanwhile, however, he, his brother William, and J. K. -Paulding wrote some humorous sketches called “Salmagundi Papers,” -which were quite successful.</p> - -<p>About this time came the single romance of Irving’s life. Judge -Hoffman, in whose law office he was, had a daughter named Matilda. -The young lawyer fell in love with her; but this romance was brought -to a tragic end by her death. Irving never married, remaining true -throughout life to the memory of this early attachment.</p> - -<p>Irving’s first important piece of writing was the Knickerbocker History -of New York. It was a clever parody of a history of the city -published by Dr. Samuel Mitchell. The book was received with enthusiasm -by the public, and Irving’s reputation was made.</p> - -<p>His health, never of the best, again gave way. In 1815 he revisited -Europe, and made the acquaintance of many important people there, -including Disraeli, Campbell, and Scott. The business in which he -was a silent partner fell into bad conditions and ended with a bankruptcy -which left Irving virtually without resources. His brother, who -was an influential member of Congress, secured for him a secretaryship -in the United States Navy Department with a salary of $2,500 a year; -but Irving declined this, with the intention of writing for a living.</p> - -<p>From that time he was successful. All his books were eagerly received, -and it was not long before he was considered America’s leading -writer. He went to Spain as attaché of the American legation in -1826. When he returned to the United States he found his name a -household word. Then he decided to settle down somewhere in the -country and quietly enjoy life. He built a delightful home on the Hudson -River, New York, to which he gave the name of “Sunnyside,” where -he spent his last years. His charming personality attracted to him -many friends, and there were no worries to bother him. He continued -his writing to the very last. He died of heart disease at Sunnyside on -November 28, 1859. On the day of his funeral all the shops in Tarrytown -were closed and draped in mourning. Both sides of the road leading -to his grave at Sleepy Hollow were crowded with sorrowful mourners.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate5.jpg" width="460" height="650" alt="" /> -<p class="caption">JAMES KIRKE PAULDING</p> -</div> - -<div class="chapter"> -<p class="center larger">American Pioneer Prose Writers</p> -</div> - -<h2>JAMES KIRKE PAULDING</h2> - -<p class="center">Monograph Number Five in The Mentor Reading Course</p> - -<div class="container"> -<div class="poetry"> -<div class="verse">“Peter Piper picked a peck of pickled peppers;</div> -<div class="verse">Where is the peck of pickled peppers Peter Piper picked?”</div> -</div> -</div> - -<div> -<img class="dropcap" src="images/dropcap-fancy-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">It is rather unusual to find that the most familiar writing of -an author is merely a bit of nonsense. Yet the verse of -James Kirke Paulding best known to us today is the tongue-twister -quoted above. He wrote poetry, most of which -is gracefully commonplace, and a good many novels, attractive -in style but of no great interest.</p> - -<p>James Kirke Paulding was born in Dutchess County, New York, on -August 22, 1779. He attended the village school for a short time; but -in 1800 went to New York City, where, in connection with his brother-in-law, -William Irving, and Washington Irving, another of the American -pioneer prose writers, he began to publish in January, 1807, a series of -short, lightly humorous articles called the “Salmagundi Papers.” In -1814 a political pamphlet of his, “The United States and England,” attracted -the notice of President Madison. He was favorably impressed, -and the next year appointed him secretary to the Board of Navy Commissioners. -He held this position until November, 1823. He was navy -agent in New York City from 1825 to 1837.</p> - -<p>Paulding was always a successful man of affairs and an able politician. -In recognition of his ability, President Van Buren made him a member -of his cabinet in 1837 as Secretary of the Navy.</p> - -<p>Later he retired to Poughkeepsie, New York, where he divided his -time between writing and farming. He died on April 6, 1860.</p> - -<p>Paulding came of good old Knickerbocker blood. In his work he -never liked to revise what he had already written, nor did he plan out his -books. His best known work is perhaps the “Dutchman’s Fireside,” -which has many pleasing pages of Dutch life.</p> - -<p>He also wrote a number of poems; but these do not measure up to -the standards of good poetry. One of them, “The Backwoodsman,” -extends over three thousand lines, few of which may be termed good.</p> - -<p>Paulding was one of the first distinctively American writers. From -his father, an active Revolutionary patriot, he inherited strong anti-British -sentiments. Throughout his life he was a vigorous protester -against intellectual thraldom to the mother country.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<div class="figcenter" style="width: 460px;"> -<img src="images/plate6.jpg" width="460" height="650" alt="" /> -<p class="caption">JAMES FENIMORE COOPER</p> -</div> - -<div class="chapter"> -<p class="center larger">American Pioneer Prose Writers</p> -</div> - -<h2>JAMES FENIMORE COOPER</h2> - -<p class="center">Monograph Number Six in The Mentor Reading Course</p> - -<div> -<img class="dropcap" src="images/dropcap-fancy-j.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap">James Fenimore Cooper was one of the most popular -writers that ever lived. Almost every American has read -some or all of Cooper’s books, and his stories have been -translated into nearly all the languages of Europe, and indeed -into some of Asia. Balzac, the French novelist, admired -him greatly. Victor Hugo, another famous French writer, said -that Cooper was greater than any novelist living at that time. Many of -Cooper’s readers gave him the title of “The American Walter Scott.”</p> - -<p>Cooper was born at Burlington, New Jersey, September 15, 1789. -His boyhood was spent in the wild country around Otsego Lake, New -York. His father was a judge and a member of Congress. Cooper entered -Yale at the early age of fourteen, and was the youngest student -on the rolls.</p> - -<p>At college he did not pay much attention to his studies, and in fact -was rather wayward. Before he had even completed his junior year, -his resignation was requested. His father interceded for him; but it -was useless. The young man then entered the United States navy; -but, after becoming a midshipman, he resigned to marry. He then settled -down in Westchester County, New York. His home life proved to -be most happy.</p> - -<p>He published his first book, “Precaution,” anonymously. Then -came “The Spy,” in 1821, a success from the very first. Many novels -followed in rapid succession. In 1826 he went to Paris, where he published -“The Prairie,” which many consider the best of all his books. He became -very popular abroad. The most distinguished people of Europe -felt honored to entertain him.</p> - -<p>In 1833 he returned to America, where he discovered that his popularity -was declining, as American critics did not believe that his later -books were measuring up to his earlier standard. He resented the sharp -criticism of several of his writings, and much ill feeling grew up between -the novelist and the public.</p> - -<p>In particular he was on bad terms with his neighbors in the village -of Cooperstown, New York, where he lived. This came to a climax -in a fierce quarrel over the ownership of a bit of woodland which extended -into the lake near his home, Otsego Hall. Cooper won in the courts;—but -the villagers evened things up with him by personal attacks. Law-suits -followed one after another. Although Cooper pretended indifference -to public opinion, nevertheless he suffered under the abusive attacks.</p> - -<p>Cooper was not on intimate terms with the prominent literary men of -his day. Toward the end of his life he loved his home more and more. -He was fond of walking in the woods and fields, and, as he himself said, -he had “an old man’s yearning for the solemn shadows of the trees.” On -September 14, 1851, he died peacefully in his home at Cooperstown, -surrounded by members of his family.</p> - -<p class="center smaller">PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION<br /> -ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 6, SERIAL No. 106<br /> -COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.</p> - -<hr /> - -<h2>AMERICAN PIONEER PROSE WRITERS</h2> - -<p class="center">By HAMILTON W. MABIE</p> - -<p class="center"><i>Author and Critic</i></p> - -<div class="figcenter" style="width: 600px;"> - -<div class="figleft" style="width: 80px;"> -<p class="center smaller">FRANKLIN<br />IN<br />1784<br /><br /></p> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<div class="figright" style="width: 80px;"> -<p class="center smaller">MODELED<br />BY<br />GIUSEPPE<br />CENACHI</p> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<img class="clearnone" src="images/illus15.jpg" width="400" height="178" alt="" /> - -</div> - -<p class="center larger clearboth">THE MENTOR</p> - -<p class="center">MAY 1, 1916 · DEPARTMENT OF LITERATURE</p> - -<div class="container"> - -<p class="center">MENTOR GRAVURES</p> - -<ul> -<li>JONATHAN EDWARDS</li> -<li>BENJAMIN FRANKLIN</li> -<li>CHARLES BROCKDEN BROWN</li> -<li>WASHINGTON IRVING</li> -<li>JAMES KIRKE PAULDING</li> -<li>JAMES FENIMORE COOPER</li> -</ul> - -</div> - -<div class="figright" style="width: 200px;"> - -<img src="images/illus16a.jpg" width="200" height="300" alt="" /> - -<p class="caption">JONATHAN EDWARDS’ MEETING HOUSE</p> - -<p class="caption">Built 1737—Torn down 1812</p> - -</div> - -<p>The literatures of the great nations have begun with the childhood -of those nations; that is to say, with fairy tales and legends and -songs of heroism; with Homer’s “Iliad” and “Odyssey,” the Song -of Beowulf (bay´-o-wulf), to name a few among many of the great beginnings -of writing. In this country the pioneer writers shared the conditions -of the pioneer builders of homes and communities. They were not, -however, a people in their intellectual infancy. The country was new; -but the people were old. They had all left literature of a high order -behind them. Many of them must have been familiar with poetry and -prose in English, French, and German, to say nothing of the classic -literature which the scholars knew; and there were many scholars, north -and south, among the early settlers.</p> - -<p>The exploration and settlement of the country was a great adventure, -which involved not only peril, but very hard work. In every colony -people had to begin at the beginning,—to get roofs over their heads to -protect them from the climate, to raise the things they were to eat, to -protect themselves from the Indians,—to do a thousand things of which -people of our day are unconscious because they were done so long ago. -The distances between the colonies were great, the means of communication -were slow and infrequent, and the colonists knew very little of one -another. They were isolated communities, not in any sense a nation. -And so the early writing was the expression -of the experiences and convictions of small -communities. There cannot be a national -literature until there is a national consciousness; -and in the early days in America -there was not even a sectional consciousness. -There was only local consciousness.</p> - -<div class="figleft" style="width: 283px;"> - -<img src="images/illus16b.jpg" width="283" height="300" alt="" /> - -<p class="caption">THE JONATHAN EDWARDS ELM, Northampton, Mass.</p> - -<p class="caption">Set by Jonathan Edwards in 1730—The house of Josiah D. -Whitney stands on the right of Edwards’ house</p> - -</div> - -<p>The first book written on the continent -was by that flamboyant, but very -versatile Virginia colonist, Captain John -Smith; a brave soldier, with a very warm -and highly inventive imagination, whose -habit of boasting has robbed him of a great -deal of credit which really belonged to him. -He wrote an account of adventures in Virginia, -which may be taken as -the beginning of American -writing, and still has value. -There was a long interval during -which the writing of the -colonists was devoted to theological -discussion, or to accounts -of the new world in -which they were living.</p> - -<p>A large part of the early -writings of New England was -more or less theological; but -none of this writing rose to the -rank of literature until Jonathan -Edwards appeared in the first -half of the eighteenth century.</p> - -<h3>JONATHAN EDWARDS</h3> - -<p>The son of a minister who was a lover -of learning as well as of religion, like a great -many other ministers of his time in New -England, who prepared young men for college, -and gave his daughters the same kind of instruction -in the same subjects. Edwards was -also the grandson of a minister on his mother’s -side; and his ancestry, like his descendants, -was notable for intellectual vigor. He graduated -from Yale College at the age of -thirteen,—not an uncommon happening in -that day of few entrance requirements,—and -the qualities of his mind and the direction -of his taste are indicated by the fact that -he was already making notes on the -mind and on natural philosophy. He -studied for the ministry, and when he -was twenty-four years old settled at -Northampton, Massachusetts, where he -was fortunate enough to marry a woman -as remarkable as himself, of whom he -wrote a description which has become a -classic in the literature of love. Edwards -was pursued by a haunting sense of sinfulness, -and the depravity of the world -often weighed heavily upon him. Mrs. -Edwards happily -combined a -piety equal to -that of her husband with great cheerfulness -of disposition.</p> - -<div class="figcenter"> - -<div class="figmulti" style="width: 250px;"> - -<img src="images/illus17a.jpg" width="250" height="300" alt="" /> - -<p class="caption">HOUSE IN BOSTON IN WHICH -FRANKLIN WAS BORN, 1706</p> - -</div> - -<div class="figmulti" style="width: 314px;"> - -<img src="images/illus17b.jpg" width="314" height="300" alt="" /> - -<p class="caption">MEDALLION OF FRANKLIN, Age 72</p> - -<p class="caption">By Jean Baptiste Nini</p> - -</div> - -<div class="figmulti" style="width: 237px;"> - -<img src="images/illus17c.jpg" width="237" height="300" alt="" /> - -<p class="caption">FRANKLIN’S GRAVE</p> - -<p class="caption">Fifth and Arch Sts., Philadelphia</p> - -</div> - -</div> - -<h3>EDWARDS AS AN AUTHOR</h3> - -<p>A man of his intensity was certain to -come into collision with some of the ideas -held by his contemporaries and with much of -their practice; and Edwards finally antagonized -his congregation to such a degree that at -the age of fifty-six he preached his farewell sermon. -Several avenues of work were open to -him, for he had become a man of wide reputation; -but he settled at Stockbridge, Massachusetts, -and wrote in the quiet -of what was then a wilderness -his famous treatise on “The -Freedom of the Will,” which is -probably the most important -American contribution to philosophy. -It is his sermons, however, -rather than his treatises, which -entitle his work to a place in the -history of American literature. -Between eleven and twelve hundred -of these sermons are preserved -in Yale University Library. -They are characterized by great -vigor of thought, intensity of feeling, -and often impressive power -of statement. One of them, more -famous, though in some respects -not so true a piece of literature as -others, “Sinners in the Hands of -an Angry God,” created great commotion -in its time, and the glow of -the fire which possessed the preacher has not yet wholly faded from its pages.</p> - -<div class="figleft" style="width: 321px;"> - -<img src="images/illus18a.jpg" width="321" height="400" alt="" /> - -<p class="caption">FRANKLIN, from a painting by D. Martin</p> - -</div> - -<h3>LITERATURE OF THE REVOLUTION</h3> - -<p>As the War of the Revolution approached the colonists began to -have hopes and fears in common, and the war was preceded by a war of -words. The grievances of the colonists were stated many times, sometimes -with great force of reasoning and clearness; and a literature of discussion -and debate, which reached the public largely through pamphlets, -came into existence. Samuel Adams of Massachusetts -wrote a stirring defense of the rights of the -colonists. James Adams, James Otis, and Thomas -Jefferson came to the front in this discussion; and -their writing took on the dignity of literature.</p> - -<div class="figright" style="width: 230px;"> - -<img src="images/illus18b.jpg" width="230" height="300" alt="" /> - -<p class="caption">FRANKLIN</p> - -</div> - -<h3>THOMAS PAINE</h3> - -<p>One of the most vigorous contributors to this -discussion was Thomas Paine, an Englishman by -birth, whose ability as a writer attracted the attention -of Benjamin Franklin, then in London, at -whose suggestion Paine came to America. He had -already made himself somewhat noted as a radical -critic of the English government and political system, and within a year -of his arrival in this country became editor of the Pennsylvania Magazine. -His “Common Sense,” a pamphlet published in 1776, was a very -vigorous argument in favor of severing all ties with the mother country. -The argument was put so strongly, and at the same time with such simplicity, -that it made a great impression on all kinds of people, and the -Pennsylvania legislature, in recognition of the services he had rendered -to the American cause, made him a gift of five hundred pounds. This pamphlet -was immediately translated into various European languages. His -“Crisis,” which was published from time to time during the war, was also of -great importance to the Americans, and the -first number was read by order of Washington -to every regiment in the colonial army. This -was in the terrible winter of 1776, and the -spirit and courage expressed in these papers did -much to relieve the despondency of the time. -The “Age of Reason,” an attack on the Bible, -published in 1794, shocked the world, and so -beclouded Paine’s reputation that his great service -to the country has been largely overlooked.</p> - -<div class="figleft" style="width: 237px;"> - -<img src="images/illus19.jpg" width="237" height="300" alt="" /> - -<p class="caption">CHARLES BROCKDEN BROWN</p> - -<p class="caption">By Wm. Dunlap—1806</p> - -</div> - -<h3>BENJAMIN FRANKLIN</h3> - -<p>If one wanted to name three men who are -in a supreme degree representative of three -leading American types, he would not go far -astray if he named Franklin, Emerson, and -Lincoln. Several years before the Revolution -Hume described Franklin as “The First -and indeed the first great Man of Letters in America”; and Dr. Johnson, -in that most delightful exploitation of ignorance and eloquence, “Taxation -No Tyranny,” described him as “a master of mischief.” Franklin -was then one of the foremost representatives of the colonists, and one of -the most ardent advocates of their claims. For thirty years Europe -knew more about him than any other man in America, not excepting -Washington. He was a Bostonian by birth, the son of a tallow chandler. -He had a casual contact with the Boston Latin School; but his formal -education was finished in his eleventh year, when he began to work as a -general utility boy in his father’s shop. He was fond of reading, and was -fortunate enough to possess Bunyan’s works, and a little later he was -reading Robinson Crusoe and other works by Defoe, who undoubtedly -had great influence on his style. His love of books inclined him to the -printer’s trade, and his self-education went on rapidly. Another piece of -good fortune was finding a volume of the Spectator. He has given a very -interesting account of his use of this classic of sound, clear English prose, -and has described its influence on his language and style. Then he read -Xenophon’s “Memorabilia,” which gave him a clear idea of the Socratic -method of discussion. At the age of fifteen he was already writing for -the colonial press, contributing essays notable for their very sensible moralizing -and their practical wisdom; for Franklin was, and still is, the representative -of American practical sagacity and commonsense.</p> - -<h3>POOR RICHARD’S ALMANAC</h3> - -<p>Fame and fortune came to him with the publication of Poor Richard’s -Almanac, which began in 1732 and was continued for a quarter of a -century. These almanacs -went into almost every -house in America, and -served not only as calendars, -lists of events, warnings -about the weather, -with doggerel verses, but -furnished proverbs of a -very practical character, -and also margins on which -all sorts of notes could be -written. “Keep thy shop -and thy shop will keep -thee,” is a good example -of “Poor Richard’s” practical wisdom. His personal -experience at home and abroad made -Franklin in many ways the most conspicuous -American of his time. His industry is shown by -the fact that his work fills a hundred and seven -volumes. In this mass of writing, of greatest importance -is his Autobiography, which told the -story of his life from his childhood to his arrival -in London in 1757. It is a straight, clear, unpretentious piece of writing, -and, all things considered, must be considered one of the most important -original contributions to American literature.</p> - -<div class="figcenter"> - -<div class="figmulti" style="width: 252px;"> - -<img src="images/illus20b.jpg" width="252" height="300" alt="" /> - -<p class="caption">MATILDA HOFFMAN</p> - -<p class="caption">By Malbone</p> - -</div> - -<div class="figmulti" style="width: 175px;"> - -<img src="images/illus20a.jpg" width="175" height="300" alt="" /> - -<p class="caption">WASHINGTON IRVING</p> - -<p class="caption">From the painting by Gilbert -Stuart Newton</p> - -</div> - -<div class="figmulti" style="width: 150px;"> - -<img src="images/illus21b.jpg" width="150" height="300" alt="" /> - -<p class="caption">BUST OF IRVING IN BRYANT -PARK, NEW YORK CITY</p> - -</div> - -</div> - -<h3>JOHN WOOLMAN</h3> - -<div class="figleft" style="width: 400px;"> - -<img src="images/illus21a.jpg" width="400" height="243" alt="" /> - -<p class="caption">SUNNYSIDE, IRVING’S HOME NEAR TARRYTOWN, N. Y.</p> - -</div> - -<div class="figright" style="width: 300px;"> - -<img src="images/illus21c.jpg" width="300" height="190" alt="" /> - -<p class="caption">TABLET BY V. D. BRENNER, ON WASHINGTON -IRVING HIGH SCHOOL, NEW YORK CITY</p> - -</div> - -<p>If John Woolman’s work had borne any resemblance to that of -Jonathan Edwards, Charles Lamb would never have said of it, “Learn -Woolman’s work by heart.” It was as far as possible removed from the -Dantesque vigor of the Puritan preacher. Woolman was a Quaker, born -in New Jersey, with very few educational opportunities, but of a naturally -religious nature, and seemed early, though in a perfectly normal way, to -have thought of the world as the creation of a great and benignant God. -Like many other naturally serious youths of his -time, as of Bunyan’s time, he was sorely beset by -a consciousness of sinfulness, which he expressed -in terms that today seem morbid in their -intensity. He accused himself of offenses of -which it is quite certain that he was innocent; -but he began very early to understand the gospel -of love and to desire above everything else to live -in complete harmony with the will of God. He was not satisfied, however, -to do this by simply obeying the law of righteousness or acquiescing -in a will which he could not oppose. He was eager to make his obedience -positive and active; so he became one of the earliest antislavery men in -the country, and one of the most ardent. His genius saved him from -fanaticism; while his simple earnestness and his effective appeal to the -higher ideals of his auditors made him a persuasive speaker. He hated -slavery; but he never attacked the slaveholder. His nature was one of -singular purity and harmony; and -as he had no self-consciousness and -no ambition, and writing was simply -a means of expression, his nature -got into his style. Although -an illiterate Quaker, an English -critic declared that “He writes in -a style of the most exquisite purity -and grace.” His Journal, which -is considered one of the classics of -early American literature, is an -unaffected and intimate record of -his thoughts, feelings, and experiences. -It was begun in his thirty-seventh year. -It is not in any sense great literature; but it is -real literature, and as contrasted with all the -colonial writing, save that of Edwards and -Franklin, it stands out by reason of the purity -of its style and the beauty of its feeling and -thought.</p> - -<div class="figright" style="width: 246px;"> - -<img src="images/illus22a.jpg" width="246" height="300" alt="" /> - -<p class="caption">JAMES K. PAULDING, by Jarvis</p> - -</div> - -<p>The note of mystery was struck early in -American writing, “Peter Rugg,” by William -Austin, appearing in the New England Galaxy -in 1824-1826.</p> - -<h3>CHARLES BROCKDEN BROWN</h3> - -<p>Charles Brockden Brown’s stories were published -still earlier; and he is often spoken of as -the predecessor of Hawthorne. Like Francis Hopkinson, he was a Philadelphian, -who studied law and made literature his profession. His first -novel, “Wieland, or The Transformation,” was a story of ventriloquism, -very artificial, but skilful and interesting. This was followed by a much -more striking tale, “Edgar Huntley,” a tale of terror, which seemed to -predict Poe, and this in turn by three or four other novels. Brown was -an industrious man, and his activity extended into other fields. He -published a number of pamphlets and semiscientific treatises. His -work had little permanent value. It was sentimental and unreal, and -lacked art; but its morbid psychology and a certain kind of intensity -gave it popularity at the time.</p> - -<div class="figleft" style="width: 300px;"> - -<img src="images/illus22b.jpg" width="300" height="211" alt="" /> - -<p class="caption">PAULDING’S HOME AT PLEASANT VALLEY, N. Y.</p> - -</div> - -<h3>WASHINGTON IRVING</h3> - -<p>American literature in the strictest sense of the word really began in -the city of New York with the publication of Washington Irving’s Knickerbocker -History of New York. New York was then the most cosmopolitan -of all cities of the New World, -as it was the largest. It was a pleasant -town of twenty-five thousand -people, and it had picturesque traditions; -for it was first settled by the -Dutch, who had, in a way, taken possession -of the Hudson River. They -were followed in turn by the English, -and still later there was a large influx -of French Huguenots. When the -Revolution broke out eighteen languages -were already spoken in the -city of New York. It was natural, -therefore, that the literature of imagination, of humor, and of sentiment -should find a soil in the cosmopolitan society of the town; and Irving, -who was born in the year in which the British troops embarked for England, -who declined to go to college, as his brothers had gone, but read -law and, probably with greater avidity, books of general literature, and -was a lover of nature, had both the temperament and the taste to write -gentle satire. He was a born -observer and loiterer, a man -who saw and felt and meditated. -He had the high spirit -of youth, and when he returned -in 1806 from Europe -he was still a young man, and -there were some other gifted -young men in New York to -keep him company. They published anonymously a series of semi-humorous, -satirical comments on men, women, and things social, dramatic, -and literary, under the title “Salmagundi,” and in these papers Irving’s -humor, sentiment, and delightful style were conspicuous. They were -followed by the Knickerbocker History of New York, in which the audacious -young man broadly burlesqued the ancestors of some of the foremost -people in New York. It was good-natured; but it gave great -offense. It was, however, the first book of quality and feeling written by -an American. In 1815 Irving went to Europe a second time, and did not -return until 1832. During that interval he published -two books, which made a reputation for him -on both sides of the Atlantic, “Bracebridge Hall” -and “The Sketch-Book.” These books made the -colonists, irritated by their long discussion with -England, more tolerant of the mother country, -because they recalled places and customs that had -been dear to their ancestors, or to their own youth. -Thackeray called Irving “the first ambassador -whom the new world of letters sent to the old.”</p> - -<div class="figcenter"> - -<div class="figmulti" style="width: 300px;"> - -<img src="images/illus23a.jpg" width="300" height="195" alt="" /> - -<p class="caption">BIRTHPLACE OF COOPER, Burlington, N. J.</p> - -<p class="caption">The center house is the home of Capt. James Lawrence</p> - -</div> - -<div class="figmulti" style="width: 300px;"> - -<img src="images/illus23b.jpg" width="300" height="187" alt="" /> - -<p class="caption">OTSEGO HALL, COOPERSTOWN, N. Y.</p> - -<p class="caption">Cooper’s boyhood home</p> - -</div> - -</div> - -<div class="figleft" style="width: 300px;"> - -<img src="images/illus23c.jpg" width="300" height="400" alt="" /> - -<p class="caption">COOPER IN 1822, painted by J. W. Jarvis</p> - -</div> - -<h3>JAMES K. PAULDING</h3> - -<p>One of the most prominent members of the -little company of young men subsequently known -as the Knickerbocker writers, who were all friends -of Irving, was James K. Paulding, whose youth -fell in the period of the Revolutionary War. In -consequence he received very little education, but -had great vigor of mind and energy of character. -He early became acquainted with Washington Irving, and a strong friendship -grew up between them. Paulding was one of the contributors to -the Salmagundi papers, and began early to write for various periodicals. -His diverting history of “John Bull and Brother Jonathan” -passed through many editions, and his satirical tendency made him popular -at a time when the feeling in this country against Great Britain -was very strong. A pamphlet entitled “The United States and England,” -which appeared in 1814, secured political preferment for Paulding, -and he was made secretary to the first board of navy commissioners. -A story published in 1831, “The Dutchman’s Fireside,” founded on -an earlier description of the manners of the early Dutch settlers, -was his most successful production, passing through six editions in a -year, and being republished abroad and translated into several languages. -Paulding’s talent, although genuine, was not distinctive enough to -secure his permanent reputation; but he remains a very interesting -figure in a group of delightful writers, and his early skits, if they may be -so called, were very keen satirical comments on some offensive British -traits and qualities.</p> - -<h3>JAMES FENIMORE COOPER</h3> - -<div class="figleft" style="width: 159px;"> - -<img src="images/illus24.jpg" width="159" height="300" alt="" /> - -<p class="caption">BUST OF COOPER</p> - -<p class="caption">David d’Angers—1828</p> - -</div> - -<div class="figright" style="width: 161px;"> - -<img src="images/illus25.jpg" width="161" height="400" alt="" /> - -<p class="caption">LEATHER STOCKING MONUMENT -AT COOPERSTOWN</p> - -</div> - -<p>Cooper, who was also a New Yorker, published “The Spy” in 1821. -“Precaution,” his first effort in fiction, which had already appeared, was a -study of English society life, about which Cooper knew very little, and it -was a failure. In “The Spy,” Cooper knew his ground and his people. -He had spent much of his boyhood at Cooperstown, in central New York, -near the scene of much of the Indian fighting. -He had heard stories of adventure from Indian -fighters and trappers. Many of the men who -had fought in the American ranks during the -War of the Revolution were still living. “The -Spy” was instantly popular, because it was the -first really American novel written by an American. -It dealt with a very interesting character, -Harvey Birch; and it appealed alike to the men -who knew of the war from experience, and to -those who had been brought up to revere the -veterans of the Revolution. Europe, too, was -intensely curious about the Indian, and the stories -that followed, especially those in the Leather -Stocking Tales, were translated into almost every -European tongue, and are still read in all parts -of the Old World. Boys in remote German -villages are still playing Cooper’s Indians.</p> - -<p>Cooper was a very uneven writer, careless, -and indifferent about artistic effects. He was -often diffuse and often commonplace, and he had -not much skill in drawing portraits of men and -women; but he could tell a story rapidly and -dramatically. He knew how to keep his readers -in suspense, and he knew nature, both on -land and at sea.</p> - -<h3>SUPPLEMENTARY READING</h3> - -<table summary="books"> - <tr> - <td>INTRODUCTION TO AMERICAN LITERATURE</td><td class="tdr"><i>By Henry S. Pancoast</i></td> - </tr> - <tr> - <td>BRIEF HISTORY OF AMERICAN LITERATURE</td><td class="tdr"><i>By W. P. Trent</i></td> - </tr> - <tr> - <td class="smaller">An excellent treatment of the subject in brief.</td><td></td> - </tr> - <tr> - <td>A STUDY OF PROSE FICTION</td><td class="tdr"><i>By Bliss Perry</i></td> - </tr> - <tr> - <td class="smaller">A scholarly work by a distinguished critical writer.</td><td></td> - </tr> - <tr> - <td>ASPECTS OF FICTION</td><td class="tdr"><i>By Brander Matthews</i></td> - </tr> - <tr> - <td class="smaller">An informing and also a charming literary study by a recognized authority.</td><td></td> - </tr> - <tr> - <td>LITERARY HISTORY OF AMERICA</td><td class="tdr"><i>By Prof. Barrett Wendell</i></td> - </tr> - <tr> - <td>HISTORY OF LITERATURE IN AMERICA</td><td class="tdr"><i>By Prof. Barrett Wendell and C. N. Greenough</i></td> - </tr> - <tr> - <td class="smaller">A condensed survey of the subject.</td><td></td> - </tr> - <tr> - <td>MATERIALS AND METHODS OF FICTION</td><td class="tdr"><i>By Clayton Hamilton</i></td> - </tr> - <tr> - <td class="smaller">A simple, interesting, practical book.</td><td></td> - </tr> - <tr> - <td>AMERICAN LANDS AND LETTERS</td><td class="tdr"><i>By Donald G. Mitchell (Ik Marvel)</i></td> - </tr> - <tr> - <td class="smaller">A most attractive work, valuable in its informing qualities, and written -in most delightful style by the author of “Reveries of a Bachelor.”</td><td></td> - </tr> -</table> - -<hr /> - -<div class="bordered"> - -<div class="figleft" style="width: 30px;"> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<div class="figright" style="width: 30px;"> -<img src="images/book-small.jpg" width="30" height="30" alt="(decorative)" /> -</div> - -<h2 class="clearnone">THE OPEN LETTER</h2> - -</div> - -<p>Why The Mentor? What’s in the name? -We might have chosen any one of fifty -names beside The Mentor. We had a list -of fully 100 names before we made our selection. -And the material that we have -supplied under the name of “Mentor” -would have served its purpose as well under -another name. But we chose our -name very carefully. There’s a reason for -“Mentor.” And yet, although we are now -a little over three years old and number -nearly 100,000 in membership, no one has -asked the reason—at least until a few -weeks ago. Then one of our earliest members -put the question, “What or who is -The Mentor?” The question was slow in -coming, but I am glad it is here, because -the answer is worth while.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>Mentor was a very worthy individual of -ancient Greece. You can read about him -in Homer’s “Odyssey.” He was the son -of Alcimus and the faithful friend of -Ulysses (Odysseus). When Ulysses set -forth on his long wanderings, he consigned -his household and his family, including his -son Telemachus to the care of his friend -Mentor. So faithful was Mentor in his -attention to Telemachus and so serviceable -to him in precept and example that -his name has now come to be used in the -sense of a wise and trustworthy advisor—“a -wise and faithful guide and friend” as -a modern dictionary phrases it.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>The name of Mentor was brought down -nearer to our time by the eminent French -writer, philosopher, and churchman, Fenelon, -archbishop of Cambria. He lived -in the time of the Grand Monarch, Louis -XIV, and so wise and cultivated was he -that the king made him tutor to his -grandson, the Duke of Burgundy, eldest -son of the dauphin, and eventual -heir to the throne. In the course of his -tutorship, and for purposes of instruction, -Fenelon wrote several remarkable -books—prose poems, in their way, but -each having a distinct moral purpose -either religious or political. In one of -these, published in 1699, and entitled -“Telemaque,” Fenelon recounts the adventures -of the son of Ulysses in search -of his father. It is a Utopian novel -dealing with conditions of life in an -idealistic way, and hovering between -dreams and realities. Its object was to -educate the young Duke of Burgundy’s -mind to the highest purposes of life as they -should be regarded by royalty—to keep -before his eyes the “great and holy maxim -that kings exist for the sake of their subjects, -not subjects for the sake of kings.” -In this book the character of “Mentor” -figures prominently. His aims are educational -in a gentle, lofty way, his hope being, -as he puts it himself, “to change the -tastes and habits of the people.”</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>It was more due to Fenelon’s employment -of the character of “Mentor” than -to that of Homer, that the name “Mentor” -came into use as a modern word. -“Mentor” now stands for a wise instructor -and a guide, but, first and foremost, a -friend. The underlying principle of “Mentor” -is an interest in the welfare and improvement -of others, and the dominating -purpose of his life is <i>service</i> to others.</p> - -<div class="figcenter" style="width: 100px;"> -<img src="images/stars.jpg" width="100" height="19" alt="(decorative)" /> -</div> - -<p>So for that reason we selected the name. -And when we made the selection we -thought that we were the first to use -the name in the field of periodical publication. -We lived in that illusion but -a short time. Scarcely six months had -gone by before we learned anew the old -lesson that the world is small and that -there are many active minds in it. One -morning a plain, unpretentious periodical -came into our office bearing on its front -the title “The Mentor,” and with it came -a friendly letter of greeting from its editor. -The place of publication was the Charlestown -Jail, and the object of the periodical -was to reflect in prose and verse the daily -life of the occupants of that quiet and -secure retreat. The editor extended his -greetings to me and asked me if I would -exchange with him—not positions, but -periodicals. The request was readily -granted, and, as a result, we are now thoroughly -informed of the affairs of that substantial -institution of Charlestown, and -we are carrying our message of information -twice a month to the members of -the exclusive community -located there.</p> - -<div class="figright" style="width: 200px;"> -<img src="images/signature.jpg" width="200" height="94" alt="(signature)" /> - -<p class="caption">W. D. Moffat<br /> -<span class="smcap">Editor</span></p> -</div> - -<hr /> - -<div class="bbox-double"> - -<p class="center larger"><span class="smcap">The Mentor Association</span></p> - -<div class="blockquote"> - -<p class="noindent">ESTABLISHED FOR THE DEVELOPMENT OF A POPULAR INTEREST -IN ART, LITERATURE, SCIENCE, HISTORY, NATURE, AND TRAVEL</p> - -</div> - -<p class="center">THE ADVISORY BOARD</p> - -<ul> -<li>JOHN G. HIBBEN, <i>President of Princeton University</i></li> -<li>HAMILTON W. MABIE, <i>Author and Editor</i></li> -<li>JOHN C. VAN DYKE, <i>Professor of the History of Art, Rutgers College</i></li> -<li>ALBERT BUSHNELL HART, <i>Professor of Government, Harvard University</i></li> -<li>WILLIAM T. HORNADAY, <i>Director New York Zoological Park</i></li> -<li>DWIGHT L. ELMENDORF, <i>Lecturer and Traveler</i></li> -</ul> - -<p class="center">THE MENTOR IS PUBLISHED TWICE A MONTH</p> - -<p class="noindent">SUBSCRIPTION, THREE DOLLARS A YEAR. FOREIGN POSTAGE 75 CENTS EXTRA. CANADIAN -POSTAGE 50 CENTS EXTRA. SINGLE COPIES FIFTEEN CENTS. PRESIDENT, THOMAS -H. BECK; VICE-PRESIDENT, WALTER P. TEN EYCK; SECRETARY, W. D. MOFFAT; TREASURER, -ROBERT M. DONALDSON; ASST. TREASURER AND ASST. SECRETARY, J. S. CAMPBELL</p> - -<hr /> - -<p class="center larger">COMPLETE YOUR MENTOR LIBRARY</p> - -<p class="center">Subscriptions always begin with the current issue. The following numbers -of The Mentor Course, already issued, will be sent postpaid at the rate of -fifteen cents each.</p> - -<ul> -<li>Serial No.</li> -<li>1. Beautiful Children in Art</li> -<li>2. Makers of American Poetry</li> -<li>3. Washington, the Capital</li> -<li>4. Beautiful Women in Art</li> -<li>5. Romantic Ireland</li> -<li>6. Masters of Music</li> -<li>7. Natural Wonders of America</li> -<li>8. Pictures We Love to Live With</li> -<li>9. The Conquest of the Peaks</li> -<li>10. Scotland, the Land of Song and Scenery</li> -<li>11. Cherubs in Art</li> -<li>12. Statues With a Story</li> -<li>13. Story of America in Pictures: The Discoverers</li> -<li>14. London</li> -<li>15. The Story of Panama</li> -<li>16. American Birds of Beauty</li> -<li>17. Dutch Masterpieces</li> -<li>18. Paris, the Incomparable</li> -<li>19. Flowers of Decoration</li> -<li>20. Makers of American Humor</li> -<li>21. American Sea Painters</li> -<li>22. Story of America in Pictures: The Explorers</li> -<li>23. Sporting Vacations</li> -<li>24. Switzerland: The Land of Scenic Splendors</li> -<li>25. American Novelists</li> -<li>26. American Landscape Painters</li> -<li>27. Venice, the Island City</li> -<li>28. The Wife in Art</li> -<li>29. Great American Inventors</li> -<li>30. Furniture and Its Makers</li> -<li>31. Spain and Gibraltar</li> -<li>32. Historic Spots of America</li> -<li>33. Beautiful Buildings of the World</li> -<li>34. Game Birds of America</li> -<li>35. Story of America in Pictures: The Contest for North America</li> -<li>36. Famous American Sculptors</li> -<li>37. The Conquest of the Poles</li> -<li>38. Napoleon</li> -<li>39. The Mediterranean</li> -<li>40. Angels in Art</li> -<li>41. Famous Composers</li> -<li>42. Egypt, the Land of Mystery</li> -<li>43. Story of America in Pictures: The Revolution</li> -<li>44. Famous English Poets</li> -<li>45. Makers of American Art</li> -<li>46. The Ruins of Rome</li> -<li>47. Makers of Modern Opera</li> -<li>48. Dürer and Holbein</li> -<li>49. Vienna, the Queen City</li> -<li>50. Ancient Athens</li> -<li>51. The Barbizon Painters</li> -<li>52. Abraham Lincoln</li> -</ul> - -<p>Volume 2</p> - -<ul> -<li>53. George Washington</li> -<li>54. Mexico</li> -<li>55. Famous American Women Painters</li> -<li>56. The Conquest of the Air</li> -<li>57. Court Painters of France</li> -<li>58. Holland</li> -<li>59. Our Feathered Friends</li> -<li>60. Glacier National Park</li> -<li>61. Michelangelo</li> -<li>62. American Colonial Furniture</li> -<li>63. American Wild Flowers</li> -<li>64. Gothic Architecture</li> -<li>65. The Story of the Rhine</li> -<li>66. Shakespeare</li> -<li>67. American Mural Painters</li> -<li>68. Celebrated Animal Characters</li> -<li>69. Japan</li> -<li>70. The Story of the French Revolution</li> -<li>71. Rugs and Rug Making</li> -<li>72. Alaska</li> -<li>73. Charles Dickens</li> -<li>74. Grecian Masterpieces</li> -<li>75. Fathers of the Constitution</li> -<li>76. Masters of the Piano</li> -</ul> - -<p>Volume 3</p> - -<ul> -<li>77. American Historic Homes</li> -<li>78. Beauty Spots of India</li> -<li>79. Etchers and Etching</li> -<li>80. Oliver Cromwell</li> -<li>81. China</li> -<li>82. Favorite Trees</li> -<li>83. Yellowstone National Park</li> -<li>84. Famous Women Writers of England</li> -<li>85. Painters of Western Life</li> -<li>86. China and Pottery of Our Forefathers</li> -<li>87. The Story of The American Railroad</li> -<li>88. Butterflies</li> -<li>89. The Philippines</li> -<li>90. Great Galleries of The World: The Louvre</li> -<li>91. William M. Thackeray</li> -<li>92. Grand Canyon of Arizona</li> -<li>93. Architecture in American Country Homes</li> -<li>94. The Story of The Danube</li> -<li>95. Animals in Art</li> -<li>96. The Holy Land</li> -<li>97. John Milton</li> -<li>98. Joan Of Arc</li> -<li>99. Furniture of the Revolutionary Period</li> -<li>100. The Ring of the Nibelung</li> -</ul> - -<p>Volume 4</p> - -<ul> -<li>101. The Golden Age of Greece</li> -<li>102. Chinese Rugs</li> -<li>103. The War of 1812</li> -<li>104. Great Galleries of the World: The National Gallery, London</li> -<li>105. Masters of the Violin</li> -</ul> - -<hr /> - -<p class="center">THE MENTOR ASSOCIATION. Inc., 52 East Nineteenth Street, New York, N. Y.</p> - -<p class="noindent smaller">Statement of the ownership, management, circulation, etc., required -by the Act of Congress of August 24, 1912, of The Mentor, published -semi-monthly at New York. N. Y., for April 1, 1916. State of New -York, County of New York. ss. Before me, a Notary Public in and for -the State and county aforesaid, personally appeared Thomas H. Beck, -who, having been duly sworn according to law, deposes and says that -he is the Publisher of The Mentor, and that the following is, to the -best of his knowledge and belief, a true statement of the ownership, -management, etc., of the aforesaid publication for the date shown in -the above caption, required by the Act of August 24, 1912, embodied in -section 443, Postal Laws and Regulations, to wit: (1) That the names -and addresses of the publisher, editor, managing editor, and business -managers are: Publisher, Thomas H. Beck, 52 East 19th Street, New -York; Editor, W. D. Moffat, 52 East 19th Street, New York; Managing -Editor, W. D. Moffat, 52 East 19th Street, New York; Business Manager, -Thomas H. Beck, 52 East 19th Street, New York. (2) That the owners -are: American Lithographic Company, 52 East 19th Street, New York; C. -Eddy, L. Ettlinger, J. P. Knapp, C. K. Mills, 52 East 19th Street, -New York; M. C. Herezog, 28 West 10th Street, New York; William T. -Harris, Villa Nova, Pa.; Mrs. M. E. Heppenheimer, 51 East 58th Street, -New York: Emilie Schumacher, Executrix for Luise E. Schumacher and -Walter L. Schumacher Mount Vernon, N. Y., Samuel Untermyer, 37 Wall -Street, New York. (3) That the known bondholders, mortgagees, and other -security holders owning or holding 1 per cent or more of total amount -of bonds, mortgages, or other securities, are: None. (4) That the two -paragraphs next above, giving the names of the owners, stockholders, -and security holders, if any, contain not only the list of stockholders -and security holders as they appear upon the books of the Company, but -also, in cases where the stockholder or security holder appears upon -the books of the Company as trustee or in any other fiduciary relation. -The name of the person or corporation for whom such trustee is acting, -is given; also that the said two paragraphs contain statements -embracing affiant’s full knowledge and belief as to the circumstances -and conditions under which stockholders and security holders who do -not appear upon the books of the Company as trustees, hold stock and -securities in a capacity other than that of a bona fide owner; and this -affiant has no reason to believe that any other person, association, -or corporation has any interest direct or indirect in the said stock, -bonds, or other securities than as so stated by him. Thomas H. Beck, -Publisher. Sworn to and subscribed before me this twenty-first day of -March, 1916. J. S. Campbell, Notary Public, Queens County. Certificate -filed in New York County. My commission expires March 30, 1917.</p> - -</div> - -<hr /> - -<p class="center larger">THE MENTOR</p> - -<div class="bordered3"> - -<h2>THE MENTOR LIBRARY</h2> - -</div> - -<p class="noindent">Back numbers of The Mentor are as valuable -now as at the date of issue. Each individual -copy goes to form a cumulative library—The -Mentor Library—comprising a collection of facts indispensable -to any one who wants to be well informed.</p> - -<p class="noindent">In attractiveness, The Mentor Library cannot be -surpassed. By graphically and vividly depicting interesting -persons, places, events, and works of art, it makes -it easy for you to accumulate a growing store of “worth -while” knowledge.</p> - -<p class="center">An Opportunity to Complete Your -Mentor Library</p> - -<p class="noindent">All but a few of our members have already completed -their sets. Some, however, have delayed. This -announcement is intended for these few. Please act -quickly, for you may not have another opportunity to -procure all the previous issues on these special terms.</p> - -<table summary="Prices"> - <tr> - <td>Issues Nos. 1 to 100 inclusive</td><td class="tdr">$15.00</td> - </tr> - <tr> - <td>Issues Nos. 1 to 90 inclusive</td><td class="tdr">13.50</td> - </tr> - <tr> - <td>Issues Nos. 1 to 80 inclusive</td><td class="tdr">12.00</td> - </tr> - <tr> - <td>Issues Nos. 1 to 70 inclusive</td><td class="tdr">10.50</td> - </tr> - <tr> - <td>Issues Nos. 1 to 60 inclusive</td><td class="tdr">9.00</td> - </tr> - <tr> - <td>Issues Nos. 1 to 50 inclusive</td><td class="tdr">7.50</td> - </tr> - <tr> - <td>Issues Nos. 1 to 40 inclusive</td><td class="tdr">6.00</td> - </tr> - <tr> - <td>Issues Nos. 1 to 30 inclusive</td><td class="tdr">4.50</td> - </tr> - <tr> - <td>Issues Nos. 1 to 20 inclusive</td><td class="tdr">3.00</td> - </tr> - <tr> - <td>Issues Nos. 1 to 10 inclusive</td><td class="tdr">1.50</td> - </tr> -</table> - -<p class="center smaller">SINGLE COPIES FIFTEEN CENTS EACH</p> - -<p class="center">Payable $1 on Receipt of Bill and $2 Monthly</p> - -<p class="noindent">SEND NO MONEY NOW! Merely assure your being -among the possessors of complete Mentor Libraries by -sending us your name and address, together with a -statement of the issues that you desire.</p> - -<div class="bordered2"> - -<p class="center">THE MENTOR ASSOCIATION</p> - -<p class="center">52 EAST NINETEENTH STREET—NEW YORK, N. Y.</p> - -</div> - -<p class="center larger">MAKE THE SPARE<br /> -MOMENT COUNT</p> - -<div class="figcenter" style="width: 482px;"> -<img src="images/back.jpg" width="482" height="700" alt="Back cover page: The Mentor Library" /> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The Mentor: American Pioneer Prose -Writers, Vol. 4, Num. 6, Serial No, by Hamilton W. Mabie - -*** END OF THIS PROJECT GUTENBERG EBOOK THE MENTOR: AMERICAN PIONEER PROSE WRITERS *** - -***** This file should be named 51731-h.htm or 51731-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/1/7/3/51731/ - -Produced by Juliet Sutherland and the Online Distributed -Proofreading Team at http://www.pgdp.net - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -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 web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - - -</pre> - -</body> -</html> diff --git a/old/51731-h/images/back.jpg b/old/51731-h/images/back.jpg Binary files differdeleted file mode 100644 index 0faf1be..0000000 --- a/old/51731-h/images/back.jpg +++ /dev/null diff --git a/old/51731-h/images/book-small.jpg b/old/51731-h/images/book-small.jpg Binary files differdeleted file mode 100644 index ca6abf4..0000000 --- a/old/51731-h/images/book-small.jpg +++ /dev/null diff --git a/old/51731-h/images/book.jpg b/old/51731-h/images/book.jpg Binary files differdeleted file mode 100644 index 780c27b..0000000 --- a/old/51731-h/images/book.jpg +++ /dev/null diff --git a/old/51731-h/images/cover.jpg b/old/51731-h/images/cover.jpg Binary files differdeleted file mode 100644 index dd7c058..0000000 --- a/old/51731-h/images/cover.jpg +++ /dev/null diff --git a/old/51731-h/images/dropcap-fancy-a.jpg b/old/51731-h/images/dropcap-fancy-a.jpg Binary files differdeleted file mode 100644 index 7e1690b..0000000 --- a/old/51731-h/images/dropcap-fancy-a.jpg +++ /dev/null diff --git a/old/51731-h/images/dropcap-fancy-c.jpg b/old/51731-h/images/dropcap-fancy-c.jpg Binary files differdeleted file mode 100644 index e1bbdea..0000000 --- a/old/51731-h/images/dropcap-fancy-c.jpg +++ /dev/null diff --git a/old/51731-h/images/dropcap-fancy-i.jpg b/old/51731-h/images/dropcap-fancy-i.jpg Binary files differdeleted file mode 100644 index 80a4063..0000000 --- a/old/51731-h/images/dropcap-fancy-i.jpg +++ /dev/null diff --git a/old/51731-h/images/dropcap-fancy-j.jpg b/old/51731-h/images/dropcap-fancy-j.jpg Binary files differdeleted file mode 100644 index 67a3701..0000000 --- a/old/51731-h/images/dropcap-fancy-j.jpg +++ /dev/null diff --git a/old/51731-h/images/dropcap-fancy-p.jpg b/old/51731-h/images/dropcap-fancy-p.jpg Binary files differdeleted file mode 100644 index a783413..0000000 --- a/old/51731-h/images/dropcap-fancy-p.jpg +++ /dev/null diff --git a/old/51731-h/images/illus15.jpg b/old/51731-h/images/illus15.jpg Binary files differdeleted file mode 100644 index 55f7746..0000000 --- a/old/51731-h/images/illus15.jpg +++ /dev/null diff --git a/old/51731-h/images/illus16a.jpg b/old/51731-h/images/illus16a.jpg Binary files differdeleted file mode 100644 index 737f2d1..0000000 --- a/old/51731-h/images/illus16a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus16b.jpg b/old/51731-h/images/illus16b.jpg Binary files differdeleted file mode 100644 index cc5fd0c..0000000 --- a/old/51731-h/images/illus16b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus17a.jpg b/old/51731-h/images/illus17a.jpg Binary files differdeleted file mode 100644 index df69df6..0000000 --- a/old/51731-h/images/illus17a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus17b.jpg b/old/51731-h/images/illus17b.jpg Binary files differdeleted file mode 100644 index dc111c6..0000000 --- a/old/51731-h/images/illus17b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus17c.jpg b/old/51731-h/images/illus17c.jpg Binary files differdeleted file mode 100644 index d56391a..0000000 --- a/old/51731-h/images/illus17c.jpg +++ /dev/null diff --git a/old/51731-h/images/illus18a.jpg b/old/51731-h/images/illus18a.jpg Binary files differdeleted file mode 100644 index 1c6de4f..0000000 --- a/old/51731-h/images/illus18a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus18b.jpg b/old/51731-h/images/illus18b.jpg Binary files differdeleted file mode 100644 index c33f8b0..0000000 --- a/old/51731-h/images/illus18b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus19.jpg b/old/51731-h/images/illus19.jpg Binary files differdeleted file mode 100644 index 9970059..0000000 --- a/old/51731-h/images/illus19.jpg +++ /dev/null diff --git a/old/51731-h/images/illus20a.jpg b/old/51731-h/images/illus20a.jpg Binary files differdeleted file mode 100644 index dfc67f4..0000000 --- a/old/51731-h/images/illus20a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus20b.jpg b/old/51731-h/images/illus20b.jpg Binary files differdeleted file mode 100644 index 26bc929..0000000 --- a/old/51731-h/images/illus20b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus21a.jpg b/old/51731-h/images/illus21a.jpg Binary files differdeleted file mode 100644 index c0c87a2..0000000 --- a/old/51731-h/images/illus21a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus21b.jpg b/old/51731-h/images/illus21b.jpg Binary files differdeleted file mode 100644 index 1349119..0000000 --- a/old/51731-h/images/illus21b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus21c.jpg b/old/51731-h/images/illus21c.jpg Binary files differdeleted file mode 100644 index 77e2f86..0000000 --- a/old/51731-h/images/illus21c.jpg +++ /dev/null diff --git a/old/51731-h/images/illus22a.jpg b/old/51731-h/images/illus22a.jpg Binary files differdeleted file mode 100644 index 3758eb7..0000000 --- a/old/51731-h/images/illus22a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus22b.jpg b/old/51731-h/images/illus22b.jpg Binary files differdeleted file mode 100644 index ccf0746..0000000 --- a/old/51731-h/images/illus22b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus23a.jpg b/old/51731-h/images/illus23a.jpg Binary files differdeleted file mode 100644 index 8955dd1..0000000 --- a/old/51731-h/images/illus23a.jpg +++ /dev/null diff --git a/old/51731-h/images/illus23b.jpg b/old/51731-h/images/illus23b.jpg Binary files differdeleted file mode 100644 index 8bab0cc..0000000 --- a/old/51731-h/images/illus23b.jpg +++ /dev/null diff --git a/old/51731-h/images/illus23c.jpg b/old/51731-h/images/illus23c.jpg Binary files differdeleted file mode 100644 index 7b7936e..0000000 --- a/old/51731-h/images/illus23c.jpg +++ /dev/null diff --git a/old/51731-h/images/illus24.jpg b/old/51731-h/images/illus24.jpg Binary files differdeleted file mode 100644 index e6666ce..0000000 --- a/old/51731-h/images/illus24.jpg +++ /dev/null diff --git a/old/51731-h/images/illus25.jpg b/old/51731-h/images/illus25.jpg Binary files differdeleted file mode 100644 index dc5dc87..0000000 --- a/old/51731-h/images/illus25.jpg +++ /dev/null diff --git a/old/51731-h/images/plate1.jpg b/old/51731-h/images/plate1.jpg Binary files differdeleted file mode 100644 index 894c6c1..0000000 --- a/old/51731-h/images/plate1.jpg +++ /dev/null diff --git a/old/51731-h/images/plate2.jpg b/old/51731-h/images/plate2.jpg Binary files differdeleted file mode 100644 index c40d332..0000000 --- a/old/51731-h/images/plate2.jpg +++ /dev/null diff --git a/old/51731-h/images/plate3.jpg b/old/51731-h/images/plate3.jpg Binary files differdeleted file mode 100644 index fdd215a..0000000 --- a/old/51731-h/images/plate3.jpg +++ /dev/null diff --git a/old/51731-h/images/plate4.jpg b/old/51731-h/images/plate4.jpg Binary files differdeleted file mode 100644 index 4ee9c39..0000000 --- a/old/51731-h/images/plate4.jpg +++ /dev/null diff --git a/old/51731-h/images/plate5.jpg b/old/51731-h/images/plate5.jpg Binary files differdeleted file mode 100644 index 6a67757..0000000 --- a/old/51731-h/images/plate5.jpg +++ /dev/null diff --git a/old/51731-h/images/plate6.jpg b/old/51731-h/images/plate6.jpg Binary files differdeleted file mode 100644 index 078812d..0000000 --- a/old/51731-h/images/plate6.jpg +++ /dev/null diff --git a/old/51731-h/images/signature.jpg b/old/51731-h/images/signature.jpg Binary files differdeleted file mode 100644 index cee101f..0000000 --- a/old/51731-h/images/signature.jpg +++ /dev/null diff --git a/old/51731-h/images/stars.jpg b/old/51731-h/images/stars.jpg Binary files differdeleted file mode 100644 index 7334d67..0000000 --- a/old/51731-h/images/stars.jpg +++ /dev/null |
