diff options
Diffstat (limited to 'old/52608-8.txt')
| -rw-r--r-- | old/52608-8.txt | 1593 |
1 files changed, 0 insertions, 1593 deletions
diff --git a/old/52608-8.txt b/old/52608-8.txt deleted file mode 100644 index 6904435..0000000 --- a/old/52608-8.txt +++ /dev/null @@ -1,1593 +0,0 @@ -The Project Gutenberg EBook of For His Country and Grandmother and the Crow, by -Marshall Saunders - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world 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. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: For His Country and Grandmother and the Crow - -Author: Marshall Saunders - -Release Date: July 20, 2016 [EBook #52608] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK FOR HIS COUNTRY, GRANDMOTHER AND CROW *** - - - - -Produced by Larry B. Harrison, Ernest Schaal, and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - - - - - - - - - - FOR HIS COUNTRY - AND - GRANDMOTHER AND THE CROW - - - - - Works of - Marshall Saunders - - [Illustration] - - Beautiful Joe's Paradise $1.50 - The Story of the Gravelys 1.50 - 'Tilda Jane 1.50 - Rose à Charlitte 1.50 - Deficient Saints 1.50 - Her Sailor 1.25 - For His Country .50 - Nita: The Story of an Irish Setter .50 - - [Illustration] - - L. C. PAGE AND COMPANY - New England Building, Boston, Mass. - - - - -[Illustration: -(Courtesy of The Youth's Companion) - "'MADEMOISELLE, YOU ARE AN AMERICAN?'"] - - - - - FOR HIS COUNTRY - AND - GRANDMOTHER AND THE CROW - - BY - MARSHALL SAUNDERS - AUTHOR OF - "BEAUTIFUL JOE, ETC." - - Illustrated by - LOUIS MEYNELL - _and others_ - - [Illustration] - - BOSTON - L. C. PAGE & COMPANY - PUBLISHERS - - - - - _Copyright, 1900_ - BY PERRY MASON & COMPANY - - _Copyright, 1900_ - BY L. C. PAGE & COMPANY - (INCORPORATED) - - _All rights reserved_ - - _Fourth Impression_ - - =Colonial Press= - Electrotyped and Printed by C. H. Simonds & Co - Boston, Mass., U.S.A. - - - - - [Illustration: CONTENTS] - - PAGE - - FOR HIS COUNTRY 13 - - GRANDMOTHER AND THE CROW 41 - - - - - [Illustration: ILLUSTRATIONS] - - PAGE - - "'MADEMOISELLE, YOU ARE AN AMERICAN?'" - (_Courtesy of the Youth's Companion_) _Frontispiece_ - - "SHE WENT ON GATHERING HER STICKS" 18 - - "'I AM FROM CALIFORNIA'" 21 - - "'YOU, TOO, LOVE YOUR COUNTRY!'" 27 - - "'THERE IS NO HOPE'" 32 - - "HE TRIED TO SING WITH THEM" 36 - - "I SAW SECOND COUSIN GEORGE FOLLOWING - HIM" (_Courtesy of the Youth's Companion_) 45 - - "HE WENT UP SOFTLY BEHIND HIM" (_Courtesy of the - Youth's Companion_) 50 - - "ROVER KNEW THIS CRY" (_Courtesy of the Youth's Companion_) 51 - - "'I AIN'T FIT TO DIE,' CRIED OLD GEORGE" 55 - - - - - FOR HIS COUNTRY - - - - - FOR HIS COUNTRY. - - "My country! 'tis of thee, - Sweet land of liberty, - Of thee I sing!" - -Here the singer's voice broke down, and I peered curiously around my -corner of the wall. He was pacing to and fro on the river-bank--a -weary-faced lad with pale cheeks and drooping shoulders. Beyond him a -fat French footman lay asleep on the grass, one hand loosely clutching a -novel. An elderly goat, grazing nearer and nearer the man, kept a wary -eye on the book, and finally seizing it, devoured it leaf by leaf. At -this the weary-faced boy did not smile, and then I knew there was -something the matter with him. - -Partly because I wished to console him, partly because I was lonely, I -continued the song in notes rather more cheerful than his own: - - "Land where my fathers died, - Land of the pilgrims' pride, - From every mountainside - Let freedom ring!" - -The boy stood stock-still, only moving his head slightly after the -manner of a bird listening to a pleasant strain. When I finished he came -toward me, cap in hand. - -"Mademoiselle, you are an American?" - -"No, my boy. I am a Canadian." - -"That's next best," he said, politely. - -"It's better," I rejoined, smiling. - -"Nothing is better than being an American." - -"You are patriotic," I observed. - -"If your ancestors fought with Indians, and English and rebels, and if -you expect to die for your country, you ought to be patriotic." - -I surveyed him curiously. He was too grave and joyless for a boy in a -normal condition. "In youth one does not usually speak of dying," I -said. - -His face flushed. "Ah, mademoiselle, I am homesick! I have not seen -America for a year." - -"Indeed? Such a patriotic boy should stay at home." - -"My mother wished me to finish my education abroad." - -"A woman should educate her children in the country in which they are to -live," I said, irritably. - -"I guess you're most old enough to be my mother, aren't you?" he -replied, gently, and with such tenderness of rebuke that I smiled -irrepressibly. He had delicately intimated that if I were his mother I -would not care to have him discuss me with a stranger. - -"I've got to learn foreign languages," he said, doggedly. "We've been -here one year; we must stay one more and then go to Italy, then to -Germany. I'm thankful the English haven't a different language. If they -had, I'd have to go learn it." - -"And after you leave Germany?" - -"After Germany--home!" - -He was not a particularly handsome lad, but he had beautiful eyes, and -at the word home they took on such a strange brilliance that I gathered -up my parasol and books in wondering silence. - -"I suppose," he said, soberly, "that you will not be at the Protestant -church on Sunday?" - -"Probably I shall." - -"I don't see many people from America," he went on, turning his head so -far away that I could hardly hear what he said. "There isn't anybody -here who cares to talk about it. My mother, of course, is too busy," he -added, with dignity. - -"_Au revoir_, then," I said, with a smile. - -He stood looking quietly after me, and when I got far up the river-bank -I turned around. He was adjusting a slight difference between the -footman and the goat; then, followed by the man, he disappeared up one -of the quaint old streets leading into the heart of the city. - -Close beside me a little old peasant woman, gathering sticks, uncurled -her stooping figure. "_Bon jour, mademoiselle!_ You have been talking to -the American boy." - -"_Oui, madame._" - -"It is very sad," she continued, in the excellent French spoken by the -peasants of the Loiret department. "He comes by the river and declaims. -He speaks of Linkum and Wash'ton. I watch from my cottage, for my -daughter Mathilde is housemaid at Madame Greyshield's, and I hear her -talk. _Monsieur le colonel_ Greyshield is a grand officer in America; -but his wife, she is proud. She brings her children to France to study. -She leaves the poor man lonely. This boy is most heartbroke. Mathilde -says he talks of his dear country in his sleep, then he rises early to -study the foreign languages, so he can more quickly go to his home. But -he is sick, his hand trembles. Mathilde thinks he is going to die. I -say, 'Mathilde, talk to madame,' but she is afraid, for madame has a -will as strong as this stout stick. It will never break. It must be -burnt. Perhaps mademoiselle will talk." - -"I will, if I get a chance." - -The old woman turned her brown, leathery face toward the blue waters of -the Loire. "Mademoiselle, do many French go to America for the accent?" - -"No; they have too much sense!" - -"It is droll," she went on, "how the families come here. The gentlemen -wander to and fro, the ladies occupy themselves with their _toilettes_. -Then they travel to other countries. They are like the leaves on that -current. They wander they know not whither. I am only a peasant, yet I -can think, and is not one language good enough to ask for bread and -soup?" And muttering and shaking her head, she went on gathering her -sticks. - -[Illustration] - -On Sunday I looked for my American boy. There he was, sitting beside a -handsomely dressed woman, who looked as if she might indeed have a will -like a stout stick. After the service he endeavoured to draw her toward -me, but she did not respond until she saw me speaking to a lady of -Huguenot descent, to whom I had had a letter of introduction. Then she -approached, and we all went down the street together. - -When we reached the boulevard leading to my hotel, the boy asked his -mother's permission to escort me home. She hesitated, and then said, -"Yes; but do not bore her to death with your patriotic rigmaroles." - -The boy, whose name was Gerald, gave her a peculiar glance, and did not -open his lips until we had walked a block. Then he asked, deliberately, -"Have you ever thought much of that idea of Abraham Lincoln's that no -man is good enough to govern another man without the other man's -consent?" - -"Yes, a good deal; yet one must obey." - -"Yes, one must obey," he said, quietly. "But sometimes it is puzzling, -especially when a fellow is growing up." - -"How old are you?" - -"Fourteen." - -"Not older?" - -"No; I am from California," and he drew himself up. "The boys and girls -there are large, you know. I have lost twenty pounds since we came here. -You have never been in California, I suppose?" - -[Illustration: "'I AM FROM CALIFORNIA.'"] - -"Yes. I like California." - -"You do?" He flashed one swift glance at me, then dropped his eyes. - -I politely averted my own, but not before I saw two tear-drops splash on -the hot, gray pavement. - -"If I could see," he said, presently, "if I could see one of those brown -hills, just one,--this flat country makes me tired." - -"Can you imagine," I said, "that I have been as homesick in California -as you are in France?" - -"No! no!" he replied, breathlessly. "No, I could not imagine that." - -"That I sailed into San Francisco Bay with a heartache because those -brown hills you speak of so lovingly were not my native hills?" - -"But you are grown up; you do not need to leave your country." - -"Our duty sometimes takes us to foreign lands. You will be a better -soldier some day for having had a time of trial and endurance." - -"I know it," he said, under his breath. "But sometimes I think I must -break loose, especially at night, when the bugles blow." - -I knew what he meant. At eight o'clock every evening, from the various -barracks in Orléans, the sweet, piercing notes of bugle answering bugle -could be heard; and the strain was the one played by the American bugles -in the school that I guessed he had attended. - -"You think of the boys drawn up in line on the drill-ground, and the -echo behind the hill." - -"Do you know Almoda?" he exclaimed, with a face as white as a sheet. - -"I do." - -This was too much for him. We had paused at the hotel entrance, and he -intended, I knew, to take a polite leave of me; but I had done a -dangerous thing in conjuring up the old familiar scenes, and mumbling -something in his throat, and giving one tug to his hat, he ran as nimbly -down the street as if he were a lean coyote from the hills of his native -State. - -Four weeks later I asked myself why I was lingering in Orléans. I had -seen all the souvenirs of Joan of Arc; I had talked with the peasants -and shopkeepers till I was tired; I agreed thoroughly with my guide-book -that Orléans is a city sadly lacking in animation; and yet I stayed on; -I stayed on because I was engaged in a bit of character study, I told my -note-book; stayed on because my presence afforded some consolation to a -struggling, unhappy boy, I told my conscience. - -The boy was dying of homesickness. He did not enter into the life of the -sleepy French city. "This is a good enough country," he said, wearily, -"but it isn't mine. I want America, and it seems to me all these priests -and soldiers and citizens are acting. I can't think they were born -speaking French." - -However, it was only at rare intervals that he complained. Away in -America he had a father who had set the high standard of duty before -him,--a father who would not encourage him to flag. - -On the Fourth of July, Mrs. Greyshield was giving a reception--not on -account of the day, for she had not a spark of patriotism, but because -she was shortly to leave Orléans for the seashore. Gerald was also -giving a reception, his a smaller one, prepared for in the face of -almost insurmountable difficulties, for he received no encouragement -from his mother in his patriotic schemes. - -His only pleasure in life was in endeavouring to make his little brother -and sister as patriotic as himself, and with ill-concealed dismay he -confided to me the fear that they were forgetting their native land. - -About the middle of the afternoon I joined him and the children in a -small, gaily decorated arbour at the foot of the garden. Shortly after I -arrived, Mrs. Greyshield, accompanied by a number of her guests, swept -down upon us. The French officers and their wives and a number of -English residents surrounded the arbour. - -"Ah, the delicious cakes! But they are not _babas_ and _savarins_ and -_tartelettes_! They must be American! What do you call this kind? -Doughnuts! How peculiar! How effective the arrangement of the bunting, -and how many flags--but all of his own country!" - -Mrs. Greyshield listened carelessly to the comments. "Oh, yes, he is -hopelessly provincial. I shall never teach him to be cosmopolitan. What -do you think of such narrowness, princess?" and in veiled admiration she -addressed her most distinguished guest, who was also her friend and -countrywoman. - -As Mrs. Greyshield spoke, the American princess, who was the possessor -of an exceedingly bitter smile, touched one of the flags with caressing -fingers. "It is a long time since I have seen one. Your boy has several. -I should like to have one for a cushion, if he will permit." - -The boy's nostrils dilated. "For a cushion!" he exclaimed. - -His tone was almost disrespectful, and his mother gave him a warning -glance, and said, hastily, "Certainly, princess. Gerald, choose your -prettiest flag." - -"Not for a cushion!" he said, firmly. "The flag should be up, never -down!" - -The gay group gazed with concealed interest at mother and son. - -Mrs. Greyshield seized a flag and offered it to her guest. - -"Thank you--not from you," said the princess, putting up her lorgnette. -"Only from the boy." - -[Illustration: "'YOU, TOO, LOVE YOUR COUNTRY!'"] - -He would not give her one. His mother was in a repressed rage, and the -boy kept his eyes bent on the ground in suffering silence. - -The titled lady put an end to the painful scene. "I have changed my -mind," she said, coolly. "I have too many cushions now." - -The boy turned swiftly to her, and, lifting the white hand hanging by -her side, gently touched it with his lips. - -"_Madame la Princesse_, you, too, love your country!" - -His exclamation was so enthusiastic, so heartfelt, there was in it such -a world of commiseration for the titled lady before him, that there -immediately flashed before each one present the unhappy life of the poor -princess in exile. The boy had started a wave of sympathy flowing from -one to another of the group, and in some confusion they all moved away. - -Gerald wiped the perspiration from his forehead, and went on with the -programme of patriotic selections that the impatient children were -obliged to go through before they could have the cakes and fireworks. - -After the fizzing and bursting noises were over, I said, regretfully, -"Gerald, I must go to Paris to-morrow." - -"I have been expecting this," he said, with dogged resignation. "When -you are gone, Miss Canada, I shall have no one to talk to me about -America." - -I had grown to love the boy for his high qualities of mind and soul, and -my voice faltered as I murmured, "Do not give up,--fight the good -fight." - -"Of faith," he added, gravely, "looking forward to what is to come." - -It seemed to me that an old man stood pressing my hand--an old man with -life's experience behind him. My heart ached for the lad, and I hurried -into the house. - -"Good-bye," I said, coldly, to my hostess. - -"Good-bye, a pleasant journey," she responded, with equal coldness. - -"If you do not take that boy of yours home, you will lose him," I -murmured. - -I thought my voice was low, but it was not low enough to escape the ears -of the princess, who was standing beside her. - -Mrs. Greyshield turned away, and the princess's lips moved almost -imperceptibly in the words, "What is the use?" - -"The boy is dying by inches!" I said, indignantly. - -"Better dead than like those--" she said, with her bitter smile, nodding -toward the chattering cosmopolitan crowd beyond us. - -I echoed the boy's words: "You, too, are a patriot!" - -"I was," she said, gravely, and sauntered away. - -I went unhappily to Paris. Would that another stranger could chance -along, to whom the boy might unburden his heart,--his noble heart, -filled not only with dreams of military glory, but of plans for the -protection of the weak and helpless among his countrymen! - -A week later a telegram from the princess summoned me to Orléans. To my -surprise, she met me on the staircase of Mrs. Greyshield's house. - -"You are right!" she whispered. "Mrs. Greyshield is to lose her boy!" - -My first feeling was one of anger. "Do not speak of such a thing!" I -said, harshly. - -"Come and see," and she led the way to a room where the weary-faced lad -lay on a huge, canopied bed, a nursing sister on either side of him. - -"The doctors are in consultation below," she murmured; "but there is no -hope." - - [Illustration] - -"Where is his mother?" - -"In her room. She sees no one. It is a foreign fashion, you know. She is -suffering deeply--at last." - -"Oh, this is horrible!" I said. "Can nothing be done?" - -"Do you observe what a perfect accent he has?" she said, meditatively. -"There must be excellent teachers at the _lycée_!" - -From the bed came occasionally muttered scraps of French prose or -poetry, and I shuddered as I listened. - -"Sacrificed for an accent!" she went on to herself. "It is a favourite -amusement of American mothers. This boy was torn from a father whom he -worshipped. I wonder what he will say when his wife returns to America -with two living children and one--" She turned to me. "I could have told -her that growing children should not be hurried from one country to -another. Yet it is better this way than the other." - -"The other?" I repeated, stupidly. - -"Yes, the other,--after years of residence abroad, no home, no country, -no attachments, a weary traveller till one dies. I thought you might -like to see him, as you were so attracted by him. He fainted the day you -left, and has been this way ever since. It cannot last much longer." - -We had been speaking in a low tone, yet our voices must have been heard -by the sleeper, for suddenly he turned his head on the pillow and looked -at us. - -The princess approached him, and murmured his name in an exquisitely -soft and gentle voice. The boy recognised her. - -"Ah, the princess!" he said, collectedly. "May I trouble you with a -message?" - -"Certainly." - -"It is for papa," he said, dreamily. "Will you tell him for me, -please--" Here his voice died away, and his dark, beseeching eyes rolled -from one to another of the people in the room. - -"Shall I send them away?" asked the princess. - -"No, thank you. It is only the pain. Will you--will you be good enough -to tell papa not to think me a coward? I promised him to hold out, -but--" - -"I will tell him." - -"And tell him I'm sorry we couldn't build that home and live together, -but I think if he prepared it mamma and the children might go. Tell him -I think they would be happier. America is so lovely! Mamma would get -used to it." - -He stopped, panting for breath, and one of the nurses put something on -his lips, while the other wiped away the drops of moisture that the -effort of speaking had brought to his spectral face. Then he closed his -eyes, and his pallid figure seemed to be sinking away from us; but -presently he roused himself, and this time his glance fell on me. - -"Miss Canada," he said, drowsily, "the salute to the flag--Dottie and -Howard." - -The princess motioned to one of the nurses, who slipped from the room -and presently returned with the children. A wan, evanescent flush -overspread his face at sight of the flag, and he tried to raise himself -on his elbow. One of the nurses supported him, and he fixed his glazing -but still beautiful eyes on the children. "Are you ready?" - -The small boy and girl were far from realising their brother's -condition, but they knew what he wished, and in a warbling voice little -Dottie began: - - "This is my country's flag, and I am my country's child, - To love and serve her well will ever be my joy." - -A little farther on her tiny brother took up the formula which it had -been Gerald's pleasure to teach them. - - [Illustration] - -The consultation below had broken up, and several of the doctors had -crept to the door of the room, but the boy did not seem to notice them. -His attention was riveted on the children, to the exclusion of all -others. - -"Give brother the flag!" he murmured, when they finished. - -They handed him the Stars and Stripes, but he could not retain it, and -the princess, quietly moving to the bedside, steadied it between his -trembling fingers. - -"Now sing with brother." - -The two children lifted up their little quavering voices, and turning -his own face to the ceiling, a face illumined by a joy not of this -world, he tried to sing with them: - - "My country! 'tis of thee, - Sweet land of liberty, - Of thee I sing!" - -Here his voice faltered, his radiant face drooped, and his darkening -eyes turned beseechingly in my direction. - -In a choking voice I finished the verse, as I had once before finished -it for him: - - "Land where my fathers died, - Land of the pilgrims' pride, - From every mountainside - Let freedom ring!" - -His head was on the pillow when I finished, but his fingers still -grasped the flag. - -"Gerald," said the princess, tenderly, "do you understand?" - -"Yes, I understand," fluttered from his pale lips. - -"And are you contented?" - -He pressed her hand slightly. - -"Would you rather die, or live to grow up and forget your country, as -you surely would do if you lived all your young life among strangers?" - -"I would rather die!" and here his voice was so firm that all in the -room heard it. - -"Dottie and Howard!" he murmured, presently, and the princess drew back. -After all, she was only a stranger. - -He died, with their little faces pressed close to his own. "Give my love -to mamma, dear mamma!" were his last words. Shortly after the nurses -drew the children away. The boy had had his wish. He had died for his -country as truly as if he had fallen in battle. - - - - - GRANDMOTHER AND THE CROW - - - - - GRANDMOTHER AND THE CROW. - - -When I was a little girl I lived with my grandmother, and a gay, lively -little grandmother she was. Away back in the family was French blood, -and I am sure that she resembled French old people, who are usually -vivacious and cheerful. On my twelfth birthday I was driving with her -through a thick wood, when we heard in front of us the loud shouting and -laughing of boys. - -"Drive on, George," said my grandmother; "let us see what this is all -about." - -As soon as he stopped, she sprang nimbly from the phaeton among -half-a-dozen flushed and excited boys who had stones in their hands. Up -in the tall trees above them were dozens of crows, which were cawing in -a loud and distressed manner, and flying restlessly from branch to -branch. A stone thrown by some boy with too true an aim had brought a -fine young crow to the ground. - -"Ha--I've got him. Thought I'd bring him down!" yelled a lad, -triumphantly. "Now give it to him, boys." - -The stones flew thick and fast at the poor crow. My grandmother screamed -and waved her hands, but the boys would not listen to her until she -rushed to the phaeton, seized the whip, and began smartly slashing those -bad boys about the legs. - -"Hi--stop that--you hurt! Here, some of you fellows take the whip from -her!" cried the boys, dancing like wild Indians around my grandmother. - -"Cowards!" she said; "if you must fight, why don't you attack something -your own size?" - -The boys slunk away, and she picked up the crow. One of its wings was -broken, and its body was badly bruised. She wrapped the poor bleeding -thing in our lap-robe, and told George to drive home. - -"Another pet, grandmother?" I asked. - -"Yes, Elizabeth," she returned, "if it lives." She had already eight -canaries, some tame snakes, a pair of doves, an old dog, white mice and -rats, and a tortoise. - -When we got home, she examined the crow's injuries, then sponged his -body with water, and decided that his wing was so badly broken that it -would have to be amputated. I held his head and feet while she performed -the surgical operation, and he squawked most dismally. When it was over, -she offered him bread and milk, which he did not seem able to eat until -she pushed the food down his throat with her slim little fingers. Then -he opened and closed his beak repeatedly, like a person smacking his -lips. - -"He may recover," she said, with delight; "now, where is he to sleep? -Come into the garden, Elizabeth." - -Our garden was walled in. There was a large kennel on a grass-plot under -my grandmother's bedroom window, and she stopped in front of it. - -"This can be fitted up for the crow, Elizabeth." - -"But what about Rover?" I said. "Where will he sleep?" - -"Down in the cellar, by the furnace," she said. "He is getting to be -rheumatic, and I owe him a better shelter than this in his old age. I -shall have a window put in at the back, so that the sun can shine in." - -For several days the crow sat in the kennel, his wings raised,--the -stump of the broken one was left,--making him look like a person -shrugging his shoulders, and the blood thickening and healing over his -wounds. Three times a day my grandmother dragged him out and pushed some -bread and milk down his throat; and three times a day he kicked and -struggled and clawed at her hands. But it soon became plain that he was -recovering. - -One day my grandmother found him trying to feed himself, and she was as -much pleased as a child would have been. The next day he stepped out on -the grass-plot. There he found a fine porcelain bath, that my -grandmother had bought for him. It was full of warm water, and he -stepped into it, flapped his wing with pleasure, and threw the water -over his body. - -"He is coming on!" cried my grandmother; "he will be the joy of my life -yet." - -[Illustration: "I SAW SECOND COUSIN GEORGE FOLLOWING HIM."] - -"What about Second Cousin George?" I asked. - -Second Cousin George--we had to call him that to distinguish him from -old George, the coachman--was a relative that lived with us. He was old, -cranky, poor, and a little weak-minded, and if it had not been for my -grandmother he would have been obliged to go to an almshouse. He hated -everything in the world except himself,--pets especially,--and if he had -not been closely watched, I think he would have put an end to some of -the creatures that my grandmother loved. - -One day after the crow was able to walk about the garden, I saw Second -Cousin George following him. I could not help laughing, for they were so -much alike. They both were fat and short, and dressed in black. Both put -their feet down in an awkward manner, carried their heads on one side, -and held themselves back as they walked. They had about an equal amount -of sense. - -In some respects, though, the crow was a little ahead of Second Cousin -George, and in some respects he was not, for on this occasion Second -Cousin George was making a kind of death-noose for him, and the crow -walked quietly behind the currant-bushes, never suspecting it. I ran for -grandmother, and she slipped quickly out into the garden. - -"Second Cousin George, what are you doing?" she said, quietly. - -He always looked up at the sky when he didn't know what to say, and as -she spoke, he eyed very earnestly some white clouds that were floating -overhead, and said never a word. - -"Were you playing with this cord?" said grandmother, taking it from him. -"What a fine loop you have in it!" She threw it dexterously over his -head. "Oh, I have caught you!" she said, with a little laugh, and began -pulling on the string. - -Second Cousin George still stood with his face turned up to the sky, his -cheeks growing redder and redder. - -"Why, I am choking you!" said grandmother, before she had really hurt -him; "do let me unfasten it." Then she took the string off his neck and -put it in her pocket. "Crows can feel pain just as men do, Second Cousin -George," she said, and walked away. - -Second Cousin George never molested the crow again. - -After a few weeks the crow became very tame, and took possession of the -garden. He dug worms from our choicest flower-beds, nipped off the tops -of growing plants, and did them far more damage than Rover the dog. But -my grandmother would not have him checked in anything. - -"Poor creature!" she said, sympathetically, "he can never fly again; let -him get what pleasure he can out of life." - -I was often sorry for him when the pigeons passed overhead. He would -flap his one long, beautiful wing, and his other poor stump of a thing, -and try to raise himself from the ground, crying, longingly, "Caw! Caw!" - -Not being able to fly, he would go quite over the garden in a series of -long hops,--that is, after he learned to guide himself. At first when he -spread his wings to help his jumps, the big wing would swing him around -so that his tail would be where he had expected to find his head. - -Many a time have I stood laughing at his awkward attempts to get across -the garden to grandmother, when she went out with some bits of raw meat -for him. She was his favourite, the only one that he would allow to come -near him or to stroke his head. - - [Illustration] - -He cawed with pleasure whenever he saw her at any of the windows, and -she was the only one that he would answer at all times. I often vainly -called to him, "Hallo, Jim Crow,--hallo!" but the instant grandmother -said, "Good Jim Crow--good Jim!" he screamed in recognition. - -He had many skirmishes with the dog over bones. Rover was old and partly -blind, and whenever Jim saw him with a bone he went up softly behind him -and nipped his tail. As Rover always turned and snapped at him, Jim -would seize the bone and run away with it, and Rover would go nosing -blindly about the garden trying to find him. They were very good -friends, however, apart from the bones, and Rover often did good service -in guarding the crow. - - [Illustration] - -The cats in the neighbourhood of course learned that there was an -injured bird in our garden, and I have seen as many as six at a time -sitting on the top of the wall looking down at him. The instant Jim saw -one he would give a peculiar cry of alarm that he kept for the cats -alone. Rover knew this cry, and springing up would rush toward the wall, -barking angrily, and frightening the cats away, though he never could -have seen them well enough to catch them. - -Jim detested not cats alone, but every strange face, every strange -noise, and every strange creature,--boys most of all. If one of them -came into the garden he would run to his kennel in a great fright. Now -this dislike of Jim's for strange noises saved some of my grandmother's -property, and also two people who might otherwise have gone completely -to the bad. - -About midnight, one dark November night, my grandmother and I were -sleeping quietly,--she in her big bed, and I in my little one beside -her. The room was a very large one, and our beds were opposite a French -window, which stood partly open, for my grandmother liked to have plenty -of fresh air at night. Under this window was Jim's kennel. - -I was having a very pleasant dream, when in the midst of it I heard a -loud, "Caw! Caw!" I woke, and found that my grandmother was turning over -sleepily in bed. - -"That's the crow's cat call," she murmured; "but cats could never get -into that kennel." - -"Let me get up and see," I said. - -"No, child," she replied. Then she reached out her hand, scratched a -match, and lighted the big lamp that stood on the table by her bed. - -I winked my eyes,--the room was almost as bright as day, and there, -half-way through the window, was George, our old coachman. His head was -in the room; his feet must have been resting on the kennel, his -expression was confused, and he did not seem to know whether to retreat -or advance. - -"Come in, George," said my grandmother, gravely. - -He finished crawling through the window, and stood looking dejectedly -down at his stocking feet. - -"What does this mean, George?" said my grandmother, ironically. "Are you -having nightmare, and did you think we might wish to go for a drive?" - -Old George never liked to be laughed at. He drew himself up. "I'm a -burglar, missus," he said, with dignity. - -My grandmother's bright, black eyes twinkled under the lace frills of -her nightcap. "Oho, are you indeed? Then you belong to a dangerous -class,--one to which actions speak louder than words," she said, calmly; -and putting one hand under her pillow, she drew out something that I had -never known she kept there. - -I thought at the time it was a tiny, shining revolver, but it really was -a bit of polished water-pipe with a faucet attached; for my grandmother -did not approve of the use of firearms. - -"Oh, missus, don't shoot--don't shoot! I ain't fit to die," cried old -George, dropping on his knees. - -"I quite agree with you," she said, coolly, laying down her pretended -revolver, "and I am glad you have some rag of a conscience left. Now -tell me who put you up to this. Some woman, I'll warrant you!" - -"Yes, missus, it was," he said, shamefacedly, "'twas Polly Jones,--she -that you discharged for impudence. She said that she'd get even with -you, and if I'd take your watch and chain and diamond ring, and some of -your silver, that we'd go to Boston, and she'd--she'd--" - -"Well," said grandmother, tranquilly, "she would do what?" - -"She said she'd marry me," sheepishly whispered the old man, hanging his -head. - -"Marry you indeed, old simpleton!" said my grandmother, dryly. "She'd -get you to Boston, fleece you well, and that's the last you'd see of -her. Where is Miss Polly?" - -[Illustration: "'I AIN'T FIT TO DIE,' CRIED OLD GEORGE."] - -"In--in the stable," whimpered the old man. - -"H'm," said grandmother, "waiting for the plunder, eh? Well, make haste. -My purse is in the upper drawer, my watch you see before you; here is my -diamond ring, and my spoons you have in your pocket." - -Old George began to cry, and counted every spoon he had in his pocket -out on the bureau before him, saying one, two, three, four, and so on, -through his tears. - -"Stop!" said my grandmother. "Put them back." - -The old man looked at her in astonishment. She made him return every -spoon to his pocket. Then she ordered him to hang the watch round his -neck, put the ring on his finger, and the purse in his pocket. - -"Take them out to the stable," she said, sternly; "sit and look at them -for the rest of the night. If you want to keep them by eight o'clock in -the morning, do so,--if not, bring them to me. And as for Miss Polly, -send her home the instant you set foot outside there, and tell her from -me that if she doesn't come to see me to-morrow afternoon she may expect -to have the town's officers after her as an accomplice in a burglary. -Now be off, or that crow will alarm the household. Not by the door, old -George, that's the way honest people go out. Oh, George, George, that a -carrion crow should be more faithful to me than you!" - -My grandmother lay for some time wide-awake, and I could hear the bed -shaking with her suppressed laughter. Then she would sigh, and murmur, -"Poor, deluded creatures!" - -Finally she dropped off to sleep, but I lay awake for the rest of the -night, thinking over what had taken place, and wondering whether Polly -Jones would obey my grandmother. - -I was with her the next day when Polly was announced. Grandmother had -been having callers, and was sitting in the drawing-room looking very -quaint and pretty in her black velvet dress and tiny lace cap. - -Polly, a bouncing country-girl, came in hanging her head. Grandmother -sat up very straight on the sofa and asked, "Would you like to go to the -penitentiary, Polly Jones?" - -"Oh, no, ma'am!" gasped Polly. - -"Would you like to come and live with me for awhile?" said my -grandmother. - -Now Polly did not want to do this, but she knew that she must fall in -with my grandmother's plans; so she hung her head a little lower and -whispered, "Yes, ma'am." - -"Very well, then," my grandmother said, "go and get your things." - -The next day my grandmother called to her the cook, the housemaid, and -the small boy that ran errands. - -"You have all worked faithfully," she said, "and I am going to give you -a holiday. Here is some money for you, and do not let me see you again -for a month. Polly Jones is going to stay with me." - -Polly stayed with us, and worked hard for a month. - -"You are a wicked girl," said my grandmother to her, "and you want -discipline. You have been idle, and idleness is the cause of half the -mischief in the world. But I will cure you." - -Polly took her lesson very meekly, and when the other maids came home, -grandmother took her on a trip to Boston. There she got a policeman to -take them about and show them how some of the wicked people of the city -lived. Among other places visited was a prison, and when Polly saw young -women like herself behind the bars, she broke down and begged -grandmother to take her home. And that reformed Polly effectually. - -As for old George, after that one miserable night in the stable, and his -utter contrition in the morning, he lived only for grandmother, and died -looking lovingly in her face. - -Jim the crow ruled the house as well as the garden after his exploit in -waking grandmother that eventful night. - -All this happened some years ago. My dear grandmother is dead now, and I -live in her house. Jim missed her terribly when she died, but I tried so -earnestly to cultivate his affections, and to make up his loss to him, -that I think he is really getting to be fond of me. - - - THE END. - - - - - COSY CORNER SERIES - - - It is the intention of the publishers that this series shall - contain only the very highest and purest literature,--stories - that shall not only appeal to the children themselves, but be - appreciated by all those who feel with them in their joys and - sorrows. - - The numerous illustrations in each book are by well-known - artists, and each volume has a separate attractive cover design. - - Each, 1 vol., 16mo, cloth $0.50 - - -_By ANNIE FELLOWS JOHNSTON_ - - -=The Little Colonel. (Trade Mark.)= - -The scene of this story is laid in Kentucky. Its heroine is a small -girl, who is known as the Little Colonel, on account of her fancied -resemblance to an old-school Southern gentleman, whose fine estate and -old family are famous in the region. This old Colonel proves to be the -grandfather of the child. - - -=The Giant Scissors.= - -This is the story of Joyce and of her adventures in France,--the -wonderful house with the gate of The Giant Scissors, Jules, her little -playmate, Sister Denisa, the cruel Brossard, and her dear Aunt Kate. -Joyce is a great friend of the Little Colonel, and in later volumes -shares with her the delightful experiences of the "House Party" and the -"Holidays." - - -=Two Little Knights of Kentucky.= - - WHO WERE THE LITTLE COLONEL'S NEIGHBORS. - -In this volume the Little Colonel returns to us like an old friend, but -with added grace and charm. She is not, however, the central figure of -the story, that place being taken by the "two little knights." - - -=Cicely and Other Stories for Girls.= - -The readers of Mrs. Johnston's charming juveniles will be glad to learn -of the issue of this volume for young people. - - -=Aunt 'Liza's Hero and Other Stories.= - -A collection of six bright little stories, which will appeal to all boys -and most girls. - - -=Big Brother.= - -A story of two boys. The devotion and care of Steven, himself a small -boy, for his baby brother, is the theme of the simple tale. - - -=Ole Mammy's Torment.= - -"Ole Mammy's Torment" has been fitly called "a classic of Southern -life." It relates the haps and mishaps of a small negro lad, and tells -how he was led by love and kindness to a knowledge of the right. - - -=The Story of Dago.= - -In this story Mrs. Johnston relates the story of Dago, a pet monkey, -owned jointly by two brothers. Dago tells his own story, and the account -of his haps and mishaps is both interesting and amusing. - - -=The Quilt That Jack Built.= - -A pleasant little story of a boy's labor of love, and how it changed the -course of his life many years after it was accomplished. - - -=Flip's Islands of Providence.= - -A story of a boy's life battle, his early defeat, and his final triumph, -well worth the reading. - - -_By EDITH ROBINSON_ - - -=A Little Puritan's First Christmas.= - -A story of Colonial times in Boston, telling how Christmas was invented -by Betty Sewall, a typical child of the Puritans, aided by her brother -Sam. - - -=A Little Daughter of Liberty.= - -The author's motive for this story is well indicated by a quotation from -her introduction, as follows: - -"One ride is memorable in the early history of the American Revolution, -the well-known ride of Paul Revere. Equally deserving of commendation is -another ride,--the ride of Anthony Severn,--which was no less historic -in its action or memorable in its consequences." - - -=A Loyal Little Maid.= - -A delightful and interesting story of Revolutionary days, in which the -child heroine, Betsey Schuyler, renders important services to George -Washington. - - -=A Little Puritan Rebel.= - -This is an historical tale of a real girl, during the time when the -gallant Sir Harry Vane was governor of Massachusetts. - - -=A Little Puritan Pioneer.= - -The scene of this story is laid in the Puritan settlement at -Charlestown. The little girl heroine adds another to the list of -favorites so well known to the young people. - - -=A Little Puritan Bound Girl.= - -A story of Boston in Puritan days, which is of great interest to -youthful readers. - - -=A Little Puritan Cavalier.= - -The story of a "Little Puritan Cavalier" who tried with all his boyish -enthusiasm to emulate the spirit and ideals of the dead Crusaders. - - -_By MISS MULOCK_ - - -=The Little Lame Prince.= - -A delightful story of a little boy who has many adventures by means of -the magic gifts of his fairy godmother. - - -=Adventures of a Brownie.= - -The story of a household elf who torments the cook and gardener, but is -a constant joy and delight to the children who love and trust him. - - -=His Little Mother.= - -Miss Mulock's short stories for children are a constant source of -delight to them, and "His Little Mother," in this new and attractive -dress, will be welcomed by hosts of youthful readers. - - -=Little Sunshine's Holiday.= - -An attractive story of a summer outing. "Little Sunshine" is another of -those beautiful child-characters for which Miss Mulock is so justly -famous. - - -_By JULIANA HORATIA EWING_ - - -=Jackanapes.= - -A new edition, with new illustrations, of this exquisite and touching -story, dear alike to young and old. - - -=Story of a Short Life.= - -This beautiful and pathetic story will never grow old. It is a part of -the world's literature, and will never die. - - -=A Great Emergency.= - -How a family of children prepared for a great emergency, and how they -acted when the emergency came. - - - - - Transcriber Notes: - -Passages in italics were indicated by _underscores_. - -Passages in bold were indicated by =equal signs=. - -Small caps were replaced with ALL CAPS. - -Throughout the dialogues, there were words used to mimic accents of -the speakers. Those words were retained as-is. - -The illustrations have been moved so that they do not break up -paragraphs and so that they are next to the text they illustrate. - -Errors in punctuations and inconsistent hyphenation were not corrected -unless otherwise noted. - - - - - - -End of the Project Gutenberg EBook of For His Country and Grandmother and -the Crow, by Marshall Saunders - -*** END OF THIS PROJECT GUTENBERG EBOOK FOR HIS COUNTRY, GRANDMOTHER AND CROW *** - -***** This file should be named 52608-8.txt or 52608-8.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/2/6/0/52608/ - -Produced by Larry B. Harrison, Ernest Schaal, and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive) - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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 in the United States with eBooks -not protected by U.S. copyright law. Redistribution is subject to the -trademark license, especially commercial redistribution. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you'll have to check the laws of the country where you - are located before using this ebook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 The -Project Gutenberg Trademark LLC, 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 -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - - - -Section 3. Information about the Project Gutenberg Literary Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's principal office is in Fairbanks, Alaska, with the -mailing address: PO Box 750175, Fairbanks, AK 99775, but its -volunteers and employees are scattered throughout numerous -locations. Its business office is located at 809 North 1500 West, Salt -Lake City, UT 84116, (801) 596-1887. Email contact links and up to -date contact information can be found at the Foundation's web site and -official page at www.gutenberg.org/contact - -For additional contact information: - - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works. - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our Web site which has the main PG search -facility: www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. - |