diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/64057-0.txt | 1121 | ||||
| -rw-r--r-- | old/64057-0.zip | bin | 21054 -> 0 bytes | |||
| -rw-r--r-- | old/64057-h.zip | bin | 225635 -> 0 bytes | |||
| -rw-r--r-- | old/64057-h/64057-h.htm | 1701 | ||||
| -rw-r--r-- | old/64057-h/images/cover.jpg | bin | 118909 -> 0 bytes | |||
| -rw-r--r-- | old/64057-h/images/i_f_12i.jpg | bin | 40234 -> 0 bytes | |||
| -rw-r--r-- | old/64057-h/images/i_frontis.jpg | bin | 50319 -> 0 bytes | |||
| -rw-r--r-- | old/64057-h/images/i_p_38i.jpg | bin | 51031 -> 0 bytes |
11 files changed, 17 insertions, 2822 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..cc9cab0 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #64057 (https://www.gutenberg.org/ebooks/64057) diff --git a/old/64057-0.txt b/old/64057-0.txt deleted file mode 100644 index 13b31f8..0000000 --- a/old/64057-0.txt +++ /dev/null @@ -1,1121 +0,0 @@ -The Project Gutenberg EBook of Agnes Mary Clerke and Ellen Mary Clerke, by -Margaret Lindsay (Lady) Huggins - -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 -will have to check the laws of the country where you are located before -using this ebook. - -Title: Agnes Mary Clerke and Ellen Mary Clerke - An Appreciation - -Author: Margaret Lindsay (Lady) Huggins - Ellen Mary Clerke - -Release Date: December 16, 2020 [EBook #64057] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Fay Dunn, David E. Brown, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK AGNES MARY CLERKE AND ELLEN MARY -CLERKE *** - - - - - AGNES MARY CLERKE - AND - ELLEN MARY CLERKE - - - - - ... “_above these heavens, which here we see, - Be others farre exceeding these in light._” - - _E. SPENSER._ - [_An Hymne of Heavenly Beautie._] - - -[Illustration: _H. S. Mendelssohn._ - -AGNES MARY CLERKE.] - - - - - AGNES MARY CLERKE - AND - ELLEN MARY CLERKE - - AN APPRECIATION - BY - LADY HUGGINS - HON. MEM. R.A.S. - - PRINTED FOR PRIVATE CIRCULATION - 1907 - - - - -FOREWORD - - -Lady Huggins in her original draft of the obituary notice of my sister -Agnes, which appeared in the _Astrophysical Journal_, included some -words of personal appreciation and of reference to her family which -were omitted from the copy sent for publication, as being, possibly, -somewhat beyond the scope of a purely scientific journal. At my request -Lady Huggins has consented to the full original draft, with a few -additions, being published for private circulation. She has also, to -my great gratification, and entirely on her own initiative, taken this -opportunity of adding an appreciation of my elder sister. - -My sisters’ acquaintance with Lady Huggins commenced only after -they had been some time permanently resident in London; and for the -accuracy of the statements relating to their earlier lives I am -alone responsible. Their father had died before the period of which -Lady Huggins speaks from personal knowledge; and perhaps it is fit -that I should supplement what she says as to the influence of family -life upon the characters and careers of my sisters by mentioning a -few facts connected with my father. Although a classical scholar -of Trinity College, Dublin, his interests were for the most part -scientific. In our earliest years his recreation was chemistry, the -consequential odours of which used to excite the wrath of our Irish -servants. Later a “big telescope” (4 inch aperture) was mounted in -the garden, and we children were occasionally treated to a glimpse of -Saturn’s rings, or Jupiter’s satellites. In an age before railways -and telegraphs had reached the remote parts of Ireland and before -clocks were “synchronised with Greenwich,” the local time would have -gone “all agley” had it not been for my father’s observations with -his “orthochronograph.” These trivial things show that it was in -an environment of scientific suggestion that our early lives were -passed; and to me, at all events, my father’s influence was more than -suggestion, for to his painstaking teaching I have to attribute any -little successes which I subsequently achieved. - -It is difficult for me to express to Lady Huggins my thanks in fitting -terms, for to thank implies a service; and her work has been not a -service to me, but a labour of love for those whose simple lives she -records. Still I may say that I am deeply gratified by this finished -product of her pen, and that I rejoice that she should have conceived -the idea of writing this Appreciation, thereby enabling me to place it -before the eyes of many friends. - -I have to thank Director Frost of the Yerkes Observatory for his -permission to reprint that part of the “Appreciation” which has already -appeared. - - AUBREY ST. JOHN CLERKE. - - 68 REDCLIFFE SQUARE, S.W. - - - - -CONTENTS - - - PAGE - - AGNES MARY CLERKE 1 - - LIST OF PAPERS CONTRIBUTED TO THE _Edinburgh Review_ 37 - - ELLEN MARY CLERKE 39 - - - - -ILLUSTRATIONS - - - AGNES MARY CLERKE _Frontispiece_ - From a Photograph - - MRS. CLERKE _Facing page_ 1 - From a Bust - - ELLEN MARY CLERKE ” 39 - From a Photograph - - - - -[Illustration: _C. E. Fry & Son._ - -MRS. CLERKE. - -From a bust executed in Rome in 1868.] - - - - -AGNES MARY CLERKE - - -Agnes Mary Clerke was born on February 10, 1842, at Skibbereen, a small -country town in a remote part of the County Cork. Her father was John -William Clerke; and her mother was a sister of the late Lord Justice -Deasy. - -Constitutionally delicate, Agnes Clerke from her earliest years, as -so often is to be noticed in cases of frail health, found her chief -delight in literary study and in music. From quiet talks often enjoyed -with her in her later life, it was clear that the thoughtfulness of -Agnes Clerke, and her liking for probing difficult problems, must have -developed early. - -This is not the place for enlarging upon the family influences of her -home life, but it should be said that these were truly fostering, -and that she was a devoted and loving daughter, to whom the parental -sympathy, strongly given on both sides, was at once inspiration and -joy. Mrs. Clerke was a remarkable woman, with rare powers of insight -and of capacity for love. Her conversational powers were of a high -order, as was her musical ability. Those privileged to be present -at her afternoon gatherings will not easily forget their pleasures; -and intimate friends will long remember the charms of her music. Her -rendering of old Irish airs on Ireland’s national instrument--the -harp--was delightful; and so indeed was her piano-playing. She told -me one day near the close of her life, when near her eightieth -birthday, that she practised on her instruments _every day_. This was -interesting; and showed that power of persevering work--even under the -natural disabilities of age--which was a marked feature in her daughter -Agnes. - -The bust, a photograph of which is here reproduced, was executed in -Rome when Mrs. Clerke was about fifty years of age. - -In considering the fostering influences of Agnes Clerke’s home life, -that of her only brother, Aubrey St. John Clerke, should be mentioned. - -Mr. Clerke won the first gold medal of Trinity College, Dublin, -in Mathematics at his Degree examination in 1865, and was awarded -a studentship of £100 a year for seven years--the highest honour -obtainable at the Degree examination. He also won the second gold medal -conferred by the University for Experimental and Natural Science. - -Mr. Clerke has told me--what indeed I always believed--that although -not professing to be a mathematician, his sister’s perception of -mathematical truth was singularly clear; and I feel sure that her -brother’s mathematical powers and knowledge of Natural Science were a -great advantage to her, for the helpfulness of thorough sympathy is -very great. In her later life she took lessons in mathematics, and -expatiated to me on the pleasure she felt in them. Not that she aimed -at making herself a mathematician; she was too wise to so err. Her -object was simply to go far enough to enable her to do better her -own particular work. No one that I have known--man or woman--better -understood that the half may be better than the whole; that the art of -doing, consists, greatly, in--_not_ doing. She could renounce. And in -these days great renunciation is necessary if useful work is to be done. - -In 1861 the Clerke family moved to Dublin, and in 1863 to Queenstown. -The winters of 1867 and of 1868 were spent at Rome; those of 1871 and -1872 at Naples; and the next four winters at Florence--the summers of -1874-76 being passed at the Bagni di Lucca. Both sisters profited to -the full from this sojourn in Italy, as their subsequent writings show; -but Agnes at Florence worked specially hard, reading constantly in the -Public Library there, and always, I believe, with one great object -before her. - -It is a question of much interest to examine into the early leanings -and aspirations of those who distinguish themselves later, and Agnes -Clerke early determined her life work. Before leaving Skibbereen, -about the age of fifteen, she had clearly before her the intention of -writing a history of Astronomy, and it is thought, had actually written -a few chapters. Her first article accepted for the _Edinburgh Review_, -is in harmony with the above facts. - -Agnes Clerke’s first wish to examine into Science generally, was roused -by the perusal of _Joyce’s Scientific Dialogues_; but as regards -Astronomy, Sir John Herschel’s _Outlines_ was her earliest guide--and -I can imagine how much this really great book was to her, from my own -early use of it. - - * * * * * - -Well do I remember reading an article in the _Edinburgh Review_ for -October 1880, on “The Chemistry of the Stars.” I admired it much: I -wondered who had written it, for it seemed to me to be unlike the -work of any one then known in the scientific world. Five years later -I solved my puzzle, for in 1885 appeared the _History of Astronomy -in the Nineteenth Century_; and I had not looked far into it before -I exclaimed: “Now I know who wrote that article in the _Edinburgh -Review_!” - -Shortly after--dining at a house where to dine was always to share in a -feast of reason and flow of soul--and sitting between our distinguished -and kindly host Sir William Bowman, and Sir Robert Ball, Sir Robert -and I exchanged ideas about the new _History of Astronomy_, and about -its author, the new “Unknown.” With all his own acuteness, Sir Robert -showed that the writer could not be a practical astronomer. But I was -delighted to find that my admiration for the _History_ was fully shared -by him, and that his praise of it was very warm. - -Shortly afterwards I entered upon a friendship, and upon a -companionship in Astronomy, which have been among my best pleasures. - - * * * * * - -Agnes Clerke’s literary life may be said to have begun in 1877 with the -acceptance of her article “Copernicus in Italy,” by Henry Reeve, then -editor of the _Edinburgh Review_, who recognised the value of his new -contributor and kept her at work. The number of her contributions to -the _Edinburgh_ is fifty; and they are all of a high order. - -Agnes Clerke, with her family, returned to England in 1877, and settled -in London. With the publication of the _History of Astronomy_ in 1885 -may be said to have begun her astronomical life. - -She read systematically, and cultivated personal relations with a wide -circle of astronomical workers, in person, or by correspondence. I -consider that these relations had much to do with the success of her -work. Her sympathies were so keen, her interest so warm, her longing -for further truth so intense,--that every one liked to offer her all -they could! - -In 1890 appeared her second book, _The System of the Stars_. - -The _Observatory_ for December 1890 contains an article by me on this -work. A review, in the strict sense of the term, it was not, because -there was much in the book which, for obvious reasons, I could not -discuss without becoming controversial. But upon one important question -I spoke strongly; and I venture now to recall and re-urge the position -I then tried to expound. Briefly it is this. The progress of Science -and the growth of its literature during the last quarter of a century -has been so enormous, that a new order of worker is imperatively -called for; and I hailed in Agnes Clerke an admirable example of -such a worker, devoting herself to Astronomy, which is at once the -oldest and, in its new developments, the youngest of the Sciences--the -science which Poincaré has lately so eloquently declared has given the -conception of _law_ to all the others. - -I ventured to sketch what should be the qualifications and aims of such -workers; and the years which have gone by since 1890 have but deepened -my conviction that there is a splendid and ever-growing field--even now -white unto harvest--ready for these special workers. Their mission is -to collect, collate, correlate, and digest the mass of observations -and papers--to chronicle, in short, on one hand; and on the other, -to discuss and suggest, and to expound: that is, to prepare material -for experts, and at the same time to inform and interest the general -public. There is urgent need of better educated public opinion in this -country. - -That such a mission may be a splendid and fruitful one has been shown -by Agnes Clerke; what careful preparation it requires, and how much it -demands of those who would enter upon it, her career also shows. - -The immense increase in astronomical literature is hardly realised -except by those engaged in dealing with it. To give but one -instance--“The Annual Index of Astronomical Literature for 1905,” -published under the auspices of the _Astronomische Gesellschaft_, -contains over two thousand references, collated from three hundred -separate publications. - -The strain of such work as I am indicating is great indeed, involving, -as it should, the power of holding loose in the mind, so to speak, -an immense mass of facts, and also a power of rapidly associating or -dissociating them as work and discovery may suggest. - -In one of her latest works, _Modern Cosmogonies_, Agnes Clerke herself -dwelt upon this strain. “Year by year,” she says (p. 160), “details -accumulate, and the strain of keeping them under mental command becomes -heavier.” - -Pathetic words! written--almost in blood! For not long before had been -published her last large work, _Problems in Astrophysics_; a work she -feared she could not live to complete--a work which at times she was -only able to toil at for half-hour periods. - - * * * * * - -All through her life Agnes Clerke was a student. Lectures and Friday -Evening Discourses at the Royal Institution which bore upon her work -she was careful to attend. A three months’ visit to Sir David and Lady -Gill at the Cape in 1888 gave her some Observatory opportunities which -increased her power of clearly realising the records of observatory -and laboratory work. Sir George Baden-Powell invited her to accompany -his yachting party to Novaya Zemlya for the solar eclipse of August -1896. When I expressed very strongly my regret that she had declined -this invitation (chiefly I now know because she feared she might be -prevented from keeping literary engagements absolutely to time), she -surprised me a week later with an earnest request that she and I -should form a little expedition of two, and try what _we_ could see. -She had divined an unspoken longing of mine, and I cannot refrain from -recording the unselfish love that would fain have gratified me. But it -could not be. - -She was awarded in 1892 the Actonian Prize of one hundred guineas -for her works on Astronomy, by the Royal Institution; and in 1901 -was commissioned by the Managers to write the first Essay under the -Hodgkins Trust, on Low Temperature Research at the Royal Institution -by Professor Sir James Dewar from 1893-1900. - -In 1903 she received the distinction of being elected an Hon. Member -of the Royal Astronomical Society--an honour and title held previously -only by Mrs. Somerville, Caroline Herschel, and Ann Sheepshanks. I may -perhaps be permitted to say that my own deep gratification in my share -of this great honour conferred on us by the Society was heightened by -receiving it with Agnes Clerke. - -She was a frequent attendant at the meetings of both the Royal -Astronomical Society and the British Astronomical Association, and -always an interested one. Occasionally she spoke; but she had no liking -for speaking in public, nor indeed was she well suited for it. - - * * * * * - -A complete list of Agnes Clerke’s papers it would be difficult to -compile. They were, in truth, innumerable. Her articles on astronomers -for the _Dictionary of National Biography_--out of the sixty-six -volumes which constitute this great work there are only eleven -to which she did not contribute,--articles for the _Encyclopædia -Britannica_, and for other encyclopædias were many, and all of them -were models of painstaking inquiry and of clear, concise statement. -The more important of these, that on Laplace in the _Encyclopædia -Britannica_, for instance, are of lasting interest and value. - -Her larger works are:-- - - _History of Astronomy in the Nineteenth Century_ (4 editions). - - _The System of the Stars._ - - _Familiar Studies in Homer._ - - _The Herschels and Modern Astronomy._ - - _Concise History of Astronomy._ - - _Modern Cosmogonies._ - - _Problems in Astrophysics._ - -I venture to think that the _History of Astronomy in the Nineteenth -Century_ is the most important of her works. It is admirable in -its completeness of references, its wide inclusiveness, and in its -lucidity. It deserves to live, and it assuredly will live--the -invaluable continuation of Grant’s fine work. _The System of the -Stars_ and the _Problems in Astrophysics_ are works of a different -order. Treasuries of knowledge and of suggestion they certainly are. - -The _Homeric Studies_, except in one chapter, are not specially -astronomical; but they are evidence of width of culture and of wide -intellectual interest, and are full of delightful touches of wit and of -humour. - -_The Herschels_ is excellent and agreeable biographical reading. Three -lives are vividly set forth in little more than two hundred octavo -pages. - -It seems to me a mistake to regard Agnes Clerke’s smaller works as of -less importance than her larger ones. - -I have said that I consider the _History_ her greatest work. But, -in some respects, I venture to think that her greatest achievement -is _Modern Cosmogonies_. I claim for this book that it is not only -a history, but a work of philosophical thinking and of imaginative -insight of a very high order. - -Its small size is an accident. It is a work essentially great. In these -superbly brilliant sketches Agnes Clerke’s style is at its best. -Usually, it suffers from effort; the lucidity may be laboured, and the -perpetual antithesis may sometimes be wearying. I have spoken of her -laboriousness in study and in work, and can adorn the tale by relating -what was surely a very remarkable performance. She had at the time no -knowledge of Portuguese, but as part of her preparation for an article -in the _Edinburgh Review_ “Don Sebastian and his Personators,” in six -weeks she not only acquired considerable knowledge of the language, -but read the whole of the _Lusiad_ in the original! - -_Le Style, c’est l’homme_; is it surprising that the physical efforts -she made I fear only too often, tended to render her writing laboured -at times? - -But the writing in _Modern Cosmogonies_, good as it is, is a small -matter compared with the masterly grasp of, I may say, all things, and -of their inter-relations, which the work reveals. And where else is -shown in recent philosophical writing such vision and faculty divine -for seizing and pointing out the reasonable spiritual clues, set in -what we call Nature,--clues helping to sustainment of soul in the midst -of the majestic mysteries surrounding us? - - * * * * * - -No sketch of Agnes Clerke would be complete without reference to her -love of music. To her music was in the highest sense of the term a -recreation. She turned to it for very life. Her piano-playing was -truly musicianly, and her repertory was large. Perhaps on the whole, -her playing was at its best in rendering Chopin. As an accompanist -she excelled. Her teachers were,--in Dublin, Miss Flynn; in Florence, -Buonamici. - -I record here the complete story of her introduction to Liszt. One -moonlight night in the spring of either 1868 or 1869, Mrs. Clerke and -her daughters rambling about Rome were fascinated by such piano-playing -as they had never before heard, and they stopped outside the open -window of the villa and listened spellbound until the unknown Maestro -had finished and came to the window to look out upon the night. Then -the enthusiasm of the hearers overcame conventionality, and they gave -free expression to their admiration; and the fifth act of the little -drama was that Liszt invited his listeners to enter, promising to play -again on condition that Agnes first played for him, which I believe she -did. - -Remarkable as were the intellectual powers of Agnes Clerke, her -moral endowments were equally so. It was a question we frequently -debated--the influence of character on work; and as I write the memory -of certain talks is hauntingly present. As is the heart, is the work. -The best work is and must be associated with lofty character. It was -so with Agnes Clerke. No purer, loftier, and yet sweetly unselfish and -human soul has lived. She was so incapable of meanness that she even -incurred danger as a historian in crediting too readily all workers -with her own high ideals. - -As a friend and companion she was faithful and true, and full of charm; -and without her the world to those who had her friendship seems -darkened and empty. - -But her mission, I must believe, was accomplished. For twenty years -she had been to modern Astronomy an admirable historian, and had kept -before working astronomers clear charts, so to speak, of what was being -done, and of what should and might be done. In so doing she rendered -splendid service, and inaugurated a kind of work which must be more -and more needed--a kind of work which not only advances Astronomy, but -promotes a universal brotherhood and co-operation, golden indeed. - -Agnes Clerke’s death comes as a shock to many. A cold--I fear not -sufficiently nursed at first--led to pneumonia and complications, and -in spite of all that devoted love and skill could do, she passed gently -to the next life, peaceful and fully conscious almost to the last, on -the morning of January 20, 1907. - - _Note._--The portrait is from a photograph taken by Mendelssohn in - 1895. - - - - -“EDINBURGH” ARTICLES - -_List of Papers contributed to Edinburgh Review by Agnes Mary Clerke_ - - - 1. April 1877. Brigandage in Sicily. - 2. July ” Copernicus in Italy. - 3. Jan. 1878. Harvey and Cesalpino. - 4. July ” Origin and Wanderings of the Gypsies. - 5. Jan. 1879. Campanella and Modern Italian Thought. - 6. Oct. ” Spedding’s Life of Bacon. - 7. July 1880. The English Precursors of Newton. - 8. Oct. ” The Chemistry of the Stars. - 9. Oct. 1881. Albania and Scanderbeg. - 10. July 1882. Don Sebastian and his Personators. - 11. April 1883. Volcanoes and Volcanic Action. - 12. Oct. 1883. Prowe’s Life of Copernicus. - 13. July 1884. The Future of the Congo. - 14. Oct. ” Mountain Observatories. - 15. Oct. 1885. The Faith of Iran, Lady Marian. - 16. July 1886. Alford on Art Needlework. - 17. Oct. ” The Aurora Borealis. - 17_a_. Jan. 1887. The House of Douglas. - 18. July ” The Life and Works of Giordano Bruno. - 19. Jan. 1888. Sidereal Photography. - 20. Oct. ” The Law of Storms. - 21. Oct. 1889. East Africa. - 22. July 1890. Life and Works of Lavoisier. - 23. April 1891. Scandinavian Antiquities. - 24. Oct. ” A Moorland Parish. - 25. April 1892. The Ice Age in North America. - 26. July ” The Discovery of America. - 27. April 1893. Proctor’s Old and New Astronomy. - 28. Oct. ” Sir H. Howarth on the Great Flood. - 29. Jan. 1894. Among the Hairy Ainus. - 30. April ” The Liquefaction of Gases. - 31. Oct. ” The Letters of Edward FitzGerald. - 32. July 1895. Problems of the Far East. - 33. Oct. ” Argon and Helium. - 34. Oct. 1896. New Views about Mars. - 35. July 1897. Two Recent Astronomers. - 36. April 1898. Recent Solar Eclipses. - 37. Oct. ” Ethereal Telegraphy. - 38. April 1899. The Origin of Diamonds. - 39. Oct. ” The November Meteors. - 40. April 1900. The Evolution of the Stars. - 41. Oct. ” Hermann von Helmholtz. - 42. July 1901. Temporary Stars. - 43. July 1902. The last Voyage of Ulysses. - 44. Jan. 1903. Double Stars. - 45. Oct. ” The Revelations of Radium. - 46. Jan. 1904. Fahie’s Life of Galileo. - 47. July ” Life in the Universe. - 48. April 1905. Earthquakes and the New Seismology. - 49. July 1906. A Representative Philosopher. - 50. Jan. 1907. The Old and the New Alchemy. - - - - -[Illustration: _C. Skillman._ - -ELLEN MARY CLERKE.] - - - - -ELLEN MARY CLERKE - - -Ellen Mary Clerke, the only sister of Agnes Clerke, whose interest in -Astronomy was also keen, was born at Skibbereen on September 26, 1840. -She shared her sister’s life, and her devotion to her contributed not a -little to the perfect fulfilment of its mission. - -Acutely sensitive to the beautiful, and with a rare capacity for -enthusiasms, Ellen Clerke was first of all a poet. But she was much -besides. She was an accomplished linguist; and the years she spent in -Italy were devoted to such study of Italian literature as enabled her -later to do excellent original work in connection with it. An admirable -article by her in the _Dublin Review_ for October 1879, on “The Age -of Dante in the Florentine Chronicles,” well deserves remembrance, so -full is it of the illumination of wide reading and of careful thinking. -Alas! only too many articles by her have passed into magazine -oblivion. Some of these were written in foreign tongues--a sure proof -of mastery of them. For instance, in 1869 she published a pamphlet in -German with the title _Das Judenthum in der Musik_; while, besides -many articles and reviews in Italian in the Florentine periodicals, -she published in one of these a serial story in Italian, called _Sotto -le Sette Stelle_. She had also a knowledge of Arabic by no means -inconsiderable. - -Her interest in geographical science was not generally known; but -she was a valued member of the Manchester Geographical Society, and -contributed to its Journal. - -As regards Astronomy, she has left useful evidence of her warm interest -in the subject in two excellent popular monographs, and in various -articles. - -A list of Ellen Clerke’s works is given at the end of this sketch, but -special mention must be made of her work as a journalist. Her friends -might regret--as I did for one--that so much of her time was thus -spent; but, after all, journalism is what the journalist makes it; -and it cannot be denied that it is a great and increasing power in our -midst. - -Assuredly Ellen Clerke always used her opportunities as a journalist -for noble ends. For the last twenty years of her life she wrote a -weekly leader for the _Tablet_,--usually on subjects connected with the -Church abroad; and on several occasions during the temporary absence of -the Editor she filled his place at his request. - -Many of her literary articles contributed to various periodicals were -critical, and that she was a generous and encouraging as well as a -capable critic the following facts pleasingly illustrate. - -In the _Westminster Review_ for October 1878 she had an article -on “The later Novels of Berthold Auerbach.” It met the eye of the -novelist, and he directed to be sent to her a copy of his _Landolin -von Reutershöfen_, inscribed: “To the Author of the article in the -_Westminster Review_, October 1878, with kind regards of Berthold -Auerbach. Berlin, Nov. 14, 1878.” - -It is singular that the poems of Ellen Clerke, published in 1881, -should not have attracted more attention. The volume is now, I believe, -almost, if not entirely, out of print; and partly on this account, -partly because of its subject and of its beauty, I give here one of the -poems. - - -NIGHT’S SOLILOQUY - - Who calls me dark? for do I not display - Wonders that else man’s eye would never see? - Waste in the blank and blinding glare of Day, - The heavens bud forth their glories but to me. - - Is it not mine to pile their crystal cup, - Drain’d by the thirsty sun and void by day, - Brimful of living gems, profuse heap’d up, - The bounteous largesse of my royal way? - - Mine to call o’er at dusk the roll of heav’n, - Array its glittering files in order due? - To beckon forth the lurking star of Even, - And bid the constellations start to view? - - The wandering planets to their paths recall, - And summon to the muster tenant spheres, - Till thronging to my standard one and all, - They crowd the zenith in unfathom’d tiers? - - Do _I_ not lure stray sunbeams from the day, - To hurl them broadcast as wing’d meteors forth? - Strew sheaves of fiery arrows on my way, - And blazon my dark spaces in the north? - - Is not a crown of lightnings mine to wear, - When polar flames suffuse my skies with splendour? - And mine the homage with the sun to share, - His vagrant vassals rush through space to render? - - Who calls me secret? are not hidden things, - Reveal’d to science when with piercing sight - She looks beneath the shadow of my wings, - To fathom space and sound the infinite? - - In plasmic light do I not bid her trace - Germs from creation’s dawn maturing slow? - And in each filmy chaos drown’d in space - See suns and systems yet in embryo? - -Miss Clerke specially enjoyed romantic subjects; and the sea and -shipping appealed to her strongly. Her ballad on _The Flying Dutchman_ -legend is one of the finest treatments of the subject I have met with, -and it is to be regretted that it is not better known, for it would -lend itself well both to the reciter and to the musician. - -The volume of poems gave evidence of a special gift which in later -years the author cultivated with great success,--that of verse -translation. Her delightful and valuable book, _Fable and Song in -Italy_, is illustrated throughout with her own versions; and although -I do not pretend to have compared each version with its original, I -venture to say that the translations are, as a whole, wonderfully -faithful, and that when the number of them, and the variety of subjects -and of measures, are considered, the verse part alone of the work is -a notable achievement. The prose part is more than a mere setting; -it is full of touches of illuminating thought, and many little-known -facts are brought together suggestively, while many of the descriptive -passages are wonderfully vivid. In Dr. Garnett’s _History of Italian -Literature_ the English versions selected by him from Boiardo and some -other poets were by Ellen Clerke. - -Ellen Clerke’s literary style was lighter and more spontaneous than her -sister’s. - -Like her sister she was highly musical, and her instrument was the -guitar. A pupil of Madame Pratten, she had through the practice -of many years acquired a mastery of the instrument unusual in an -amateur, managing it with great skill, and arranging for it many an -accompaniment. To the last almost, her singing to the guitar was full -of charm; and in earlier years when the sisters sang together to her -guitar accompaniment the performance was delightful. - -A devoted and exemplary Catholic, Ellen Clerke was untiring in her -zeal for all good works. Unselfish and loving, she was a devoted -daughter, sister, and friend. Fonder of society than her sister, it -was perhaps natural that she did not pursue literary work in the same -persistent way. And it fell in with her sociability that she pulled a -good oar and enjoyed riding. - -These sisters were lovely and pleasant in their lives, and in death -they were but little divided. Ellen Clerke died after a short illness -on March 2, 1906. - - - - -A LIST OF THE WORKS OF ELLEN CLERKE - - - Poems: _The Flying Dutchman and Other Poems_. (1881.) - - Versified translations of Italian poetry in Dr. Garnett’s _History of - Italian Literature_. (1898.) - - _Fable and Song in Italy._ (1899.) - - _Flowers of Fire_: a novel which gives an admirable account of the - phenomena of an eruption of Vesuvius. (1902.) - - An immense number of magazine articles, including a weekly leader - contributed for twenty years to the _Tablet_. - - Monograph on _Jupiter and his System_. (1892.) - - Monograph on _Venus_. (1893.) - - An article in the _Observatory_, vol. xv. p. 271. - -The monographs on Jupiter and on Venus, although unpretentious, are -based upon careful reading of the best authorities, and are written in -a way which places them above the ordinary popularisers. - -The article above referred to in the _Observatory_ was the outcome of -her Arabic reading, and showed that there can be little doubt that the -variability of Algol had been noticed by the Arabian astronomers. - - _Note._--The portrait is from a photograph taken not long before - death. - - MARGARET L. HUGGINS. - -*** END OF THE PROJECT GUTENBERG EBOOK AGNES MARY CLERKE AND ELLEN MARY -CLERKE *** - -***** This file should be named 64057-0.txt or 64057-0.zip ***** -This and all associated files of various formats will be found in: - https://www.gutenberg.org/6/4/0/5/64057/ - -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 will 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. - diff --git a/old/64057-0.zip b/old/64057-0.zip Binary files differdeleted file mode 100644 index 2e08a5c..0000000 --- a/old/64057-0.zip +++ /dev/null diff --git a/old/64057-h.zip b/old/64057-h.zip Binary files differdeleted file mode 100644 index f379092..0000000 --- a/old/64057-h.zip +++ /dev/null diff --git a/old/64057-h/64057-h.htm b/old/64057-h/64057-h.htm deleted file mode 100644 index b5d62c1..0000000 --- a/old/64057-h/64057-h.htm +++ /dev/null @@ -1,1701 +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=us-ascii" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - Agnes Mary Clerke and Ellen Mary Clerke, by Lady Huggins—A Project Gutenberg eBook - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - - h1,h2, h3 { - text-align: center; - clear: both; -} - -p { - margin-top: .51em; - text-align: justify; - margin-bottom: .49em; -} - - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} - - - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} -h3.nobreak {page-break-before: avoid;} - - -table { - margin-left: auto; - margin-right: auto; -} - -.tdr {text-align: right;} -.tdc {text-align: center;} - -.pagenum { - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; -} - - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -.xxlarge {font-size: 175%;} - -.xlarge {font-size: 150%;} - -.large {font-size: 125%;} - -.gap {padding-left: 17em;} - -.caption {font-weight: bold; text-align: center;} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - -div.titlepage {text-align: center; page-break-before: always; page-break-after: always;} - -div.titlepage p {text-align: center; font-weight: bold; line-height: 1.5; margin-top: 2em;} - -.poetry-container {text-align: center;} - -.poetry {display: inline-block; text-align: left;} - -.poetry .verse {text-indent: -2.5em; padding-left: 3em;} - -.poetry .stanza {margin: 1em auto;} -.poetry .indent {text-indent: 1.5em;} - -.poetry .verseright { text-align: right;} -.poetry .verseright1 { text-align: right; padding-right: 5em;} -@media handheld, print { .poetry {display: block;} } - - - - </style> - </head> -<body> -<pre style='margin-bottom:6em;'>The Project Gutenberg EBook of Agnes Mary Clerke and Ellen Mary Clerke, by -Margaret Lindsay (Lady) Huggins - -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 -will have to check the laws of the country where you are located before -using this ebook. - -Title: Agnes Mary Clerke and Ellen Mary Clerke - An Appreciation - -Author: Margaret Lindsay (Lady) Huggins - Ellen Mary Clerke - -Release Date: December 16, 2020 [EBook #64057] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Fay Dunn, David E. Brown, and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The Internet - Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK AGNES MARY CLERKE AND ELLEN MARY -CLERKE *** -</pre> -<div class="figcenter"><img src="images/cover.jpg" width="40%" alt="" /></div> - -<hr class="chap" /> - -<div class="chapter"> - -<h1> -AGNES MARY CLERKE<br /> -<small>AND</small><br /> -ELLEN MARY CLERKE</h1> -</div> - -<hr class="chap" /> -<div class="chapter"> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="verse">... “<i>above these heavens, which here we see,</i></div> -<div class="verse"><i>Be others farre exceeding these in light.</i>”</div> -</div> -<div class="stanza"> -<div class="verseright1"><i><span class="smcap">E. Spenser.</span></i></div> -<div class="verseright">[<i>An Hymne of Heavenly Beautie.</i>]</div> -</div></div></div> -</div> - -<hr class="chap" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_0"></a></span></p> - -<div class="figcenter"><img src="images/i_frontis.jpg" alt="" /></div> - -<p class="center"><span class="gap"><small><i>H. S. Mendelssohn.</i></small></span></p> - -<p class="caption">AGNES MARY CLERKE.</p></div> - - -<hr class="chap" /> -<div class="chapter"> - -<div class="titlepage"> -<p><span class="xxlarge">AGNES MARY CLERKE</span><br /> -AND<br /> -<span class="xxlarge">ELLEN MARY CLERKE</span></p> -<br /> -<p><span class="xlarge">AN APPRECIATION</span><br /> -BY<br /> -<span class="xlarge">LADY HUGGINS</span><br /> -HON. MEM. R.A.S.</p> -<br /> -<p><span class="large">PRINTED FOR PRIVATE CIRCULATION</span><br /> -<span class="large">1907</span></p> -</div></div> - -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_v"></a>[v]</span> -<h2 class="nobreak">FOREWORD</h2> -</div> - - -<p><span class="smcap">Lady Huggins</span> in her original draft -of the obituary notice of my sister -Agnes, which appeared in the <i>Astrophysical -Journal</i>, included some -words of personal appreciation and -of reference to her family which -were omitted from the copy sent -for publication, as being, possibly, -somewhat beyond the scope of a -purely scientific journal. At my -request Lady Huggins has consented<span class="pagenum"><a id="Page_vi"></a>[vi]</span> -to the full original draft, -with a few additions, being published -for private circulation. She -has also, to my great gratification, -and entirely on her own initiative, -taken this opportunity of adding an -appreciation of my elder sister.</p> - -<p>My sisters’ acquaintance with -Lady Huggins commenced only -after they had been some time -permanently resident in London; -and for the accuracy of the statements -relating to their earlier lives -I am alone responsible. Their -father had died before the period<span class="pagenum"><a id="Page_vii"></a>[vii]</span> -of which Lady Huggins speaks from -personal knowledge; and perhaps it -is fit that I should supplement what -she says as to the influence of family -life upon the characters and careers -of my sisters by mentioning a few -facts connected with my father. -Although a classical scholar of -Trinity College, Dublin, his interests -were for the most part scientific. -In our earliest years his recreation -was chemistry, the consequential -odours of which used to excite the -wrath of our Irish servants. Later -a “big telescope” (4 inch aperture)<span class="pagenum"><a id="Page_viii"></a>[viii]</span> -was mounted in the garden, and we -children were occasionally treated -to a glimpse of Saturn’s rings, or -Jupiter’s satellites. In an age before -railways and telegraphs had reached -the remote parts of Ireland and -before clocks were “synchronised -with Greenwich,” the local time -would have gone “all agley” had it -not been for my father’s observations -with his “orthochronograph.” -These trivial things show that it was -in an environment of scientific suggestion -that our early lives were -passed; and to me, at all events, my<span class="pagenum"><a id="Page_ix"></a>[ix]</span> -father’s influence was more than -suggestion, for to his painstaking -teaching I have to attribute any -little successes which I subsequently -achieved.</p> - -<p>It is difficult for me to express -to Lady Huggins my thanks in -fitting terms, for to thank implies -a service; and her work has been -not a service to me, but a labour -of love for those whose simple lives -she records. Still I may say that -I am deeply gratified by this finished -product of her pen, and that I -rejoice that she should have conceived<span class="pagenum"><a id="Page_x"></a>[x]</span> -the idea of writing this Appreciation, -thereby enabling me to -place it before the eyes of many -friends.</p> - -<p>I have to thank Director Frost -of the Yerkes Observatory for his -permission to reprint that part -of the “Appreciation” which has -already appeared.</p> - -<p class="right">AUBREY ST. JOHN CLERKE.</p> - - - -<p><span class="smcap">68 Redcliffe Square, S.W.</span></p> - - -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_xi"></a>[xi]</span> - -<h2 class="nobreak">CONTENTS</h2> -</div> - - -<table border="0" cellpadding="2" cellspacing="2" summary="table"> -<tr><td> </td><td class="tdr"><small>PAGE</small></td></tr> - -<tr><td><span class="smcap">Agnes Mary Clerke</span></td><td class="tdr"><a href="#Page_1"> 1</a></td></tr> - -<tr><td><span class="smcap">List of Papers contributed to the</span> <i>Edinburgh Review</i></td><td class="tdr"><a href="#Page_37"> 37</a></td></tr> - -<tr><td><span class="smcap">Ellen Mary Clerke</span></td><td class="tdr"><a href="#Page_38b"> 39</a></td></tr> -</table> - - - - -<div class="chapter"> -<h2 class="nobreak">ILLUSTRATIONS</h2> -</div> - - -<table border="0" cellpadding="2" cellspacing="2" summary="table"> - -<tr><td><span class="smcap">Agnes Mary Clerke </span></td><td class="tdr"><a href="#Page_0"> <i>Frontispiece</i></a></td></tr> -<tr><td> From a Photograph</td></tr> - -<tr><td><span class="smcap">Mrs. Clerke</span></td><td class="tdr"> <i>Facing page</i> <a href="#Page_xii"> 1</a></td></tr> -<tr><td> From a Bust</td></tr> - -<tr><td><span class="smcap">Ellen Mary Clerke</span></td><td class="tdr"> ” <a href="#Page_38b">39</a></td></tr> -<tr><td> From a Photograph</td></tr> -</table> - -<hr class="chap" /> - -<p><span class="pagenum"><a id="Page_xii"></a></span></p> -<div class="figcenter"><img src="images/i_f_12i.jpg" alt="" /></div> - -<p class="center"><span class="gap"><small><i>C. E. Fry & Son.</i></small></span></p> - -<p class="caption">MRS. CLERKE.<br /> - -From a bust executed in Rome in 1868.</p> - - -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_1"></a>[1]</span> - -<h2 class="nobreak">AGNES MARY CLERKE</h2> -</div> - - -<p><span class="smcap">Agnes Mary Clerke</span> was born on -February 10, 1842, at Skibbereen, -a small country town in a remote -part of the County Cork. Her -father was John William Clerke; -and her mother was a sister of the -late Lord Justice Deasy.</p> - -<p>Constitutionally delicate, Agnes -Clerke from her earliest years, as -so often is to be noticed in cases<span class="pagenum"><a id="Page_2"></a>[2]</span> -of frail health, found her chief -delight in literary study and in -music. From quiet talks often -enjoyed with her in her later life, -it was clear that the thoughtfulness -of Agnes Clerke, and her -liking for probing difficult problems, -must have developed early.</p> - -<p>This is not the place for enlarging -upon the family influences of -her home life, but it should be -said that these were truly fostering, -and that she was a devoted -and loving daughter, to whom the -parental sympathy, strongly given<span class="pagenum"><a id="Page_3"></a>[3]</span> -on both sides, was at once inspiration -and joy. Mrs. Clerke was a -remarkable woman, with rare powers -of insight and of capacity for love. -Her conversational powers were of -a high order, as was her musical -ability. Those privileged to be present -at her afternoon gatherings will -not easily forget their pleasures; -and intimate friends will long remember -the charms of her music. -Her rendering of old Irish airs on -Ireland’s national instrument—the -harp—was delightful; and so indeed -was her piano-playing. She told me<span class="pagenum"><a id="Page_4"></a>[4]</span> -one day near the close of her life, -when near her eightieth birthday, -that she practised on her instruments -<i>every day</i>. This was interesting; and -showed that power of persevering -work—even under the natural disabilities -of age—which was a marked -feature in her daughter Agnes.</p> - -<p>The bust, a photograph of which -is here reproduced, was executed in -Rome when Mrs. Clerke was about -fifty years of age.</p> - -<p>In considering the fostering influences -of Agnes Clerke’s home life, -that of her only brother, Aubrey<span class="pagenum"><a id="Page_5"></a>[5]</span> -St. John Clerke, should be mentioned.</p> - -<p>Mr. Clerke won the first gold -medal of Trinity College, Dublin, -in Mathematics at his Degree examination -in 1865, and was awarded -a studentship of £100 a year for -seven years—the highest honour -obtainable at the Degree examination. -He also won the second gold -medal conferred by the University -for Experimental and Natural -Science.</p> - -<p>Mr. Clerke has told me—what -indeed I always believed—that<span class="pagenum"><a id="Page_6"></a>[6]</span> -although not professing to be -a mathematician, his sister’s perception -of mathematical truth was -singularly clear; and I feel sure -that her brother’s mathematical -powers and knowledge of Natural -Science were a great advantage to -her, for the helpfulness of thorough -sympathy is very great. In her -later life she took lessons in mathematics, -and expatiated to me on -the pleasure she felt in them. Not -that she aimed at making herself -a mathematician; she was too wise -to so err. Her object was simply<span class="pagenum"><a id="Page_7"></a>[7]</span> -to go far enough to enable her to -do better her own particular work. -No one that I have known—man -or woman—better understood that -the half may be better than the -whole; that the art of doing, consists, -greatly, in—<i>not</i> doing. She -could renounce. And in these days -great renunciation is necessary if -useful work is to be done.</p> - -<p>In 1861 the Clerke family moved -to Dublin, and in 1863 to Queenstown. -The winters of 1867 and of -1868 were spent at Rome; those of -1871 and 1872 at Naples; and the<span class="pagenum"><a id="Page_8"></a>[8]</span> -next four winters at Florence—the -summers of 1874-76 being passed at -the Bagni di Lucca. Both sisters -profited to the full from this sojourn -in Italy, as their subsequent writings -show; but Agnes at Florence -worked specially hard, reading constantly -in the Public Library there, -and always, I believe, with one -great object before her.</p> - -<p>It is a question of much interest -to examine into the early leanings -and aspirations of those who distinguish -themselves later, and Agnes -Clerke early determined her life<span class="pagenum"><a id="Page_9"></a>[9]</span> -work. Before leaving Skibbereen, -about the age of fifteen, she had -clearly before her the intention of -writing a history of Astronomy, -and it is thought, had actually -written a few chapters. Her first -article accepted for the <i>Edinburgh -Review</i>, is in harmony with the -above facts.</p> - -<p>Agnes Clerke’s first wish to examine -into Science generally, was -roused by the perusal of <i>Joyce’s -Scientific Dialogues</i>; but as regards -Astronomy, Sir John Herschel’s -<i>Outlines</i> was her earliest guide—and<span class="pagenum"><a id="Page_10"></a>[10]</span> -I can imagine how much this -really great book was to her, from -my own early use of it.</p> - -<hr class="tb" /> - -<p>Well do I remember reading an -article in the <i>Edinburgh Review</i> for -October 1880, on “The Chemistry -of the Stars.” I admired it much: -I wondered who had written it, for -it seemed to me to be unlike the -work of any one then known in the -scientific world. Five years later I -solved my puzzle, for in 1885 appeared -the <i>History of Astronomy -in the Nineteenth Century</i>; and I<span class="pagenum"><a id="Page_11"></a>[11]</span> -had not looked far into it before -I exclaimed: “Now I know who -wrote that article in the <i>Edinburgh -Review</i>!”</p> - -<p>Shortly after—dining at a house -where to dine was always to share -in a feast of reason and flow of -soul—and sitting between our distinguished -and kindly host Sir -William Bowman, and Sir Robert -Ball, Sir Robert and I exchanged -ideas about the new <i>History of -Astronomy</i>, and about its author, -the new “Unknown.” With all -his own acuteness, Sir Robert<span class="pagenum"><a id="Page_12"></a>[12]</span> -showed that the writer could not -be a practical astronomer. But I -was delighted to find that my admiration -for the <i>History</i> was fully -shared by him, and that his praise -of it was very warm.</p> - -<p>Shortly afterwards I entered upon -a friendship, and upon a companionship -in Astronomy, which have been -among my best pleasures.</p> - -<hr class="tb" /> - -<p>Agnes Clerke’s literary life may -be said to have begun in 1877 -with the acceptance of her article -“Copernicus in Italy,” by Henry<span class="pagenum"><a id="Page_13"></a>[13]</span> -Reeve, then editor of the <i>Edinburgh -Review</i>, who recognised the -value of his new contributor and -kept her at work. The number of -her contributions to the <i>Edinburgh</i> -is fifty; and they are all of a high -order.</p> - -<p>Agnes Clerke, with her family, -returned to England in 1877, and -settled in London. With the publication -of the <i>History of Astronomy</i> -in 1885 may be said to have begun -her astronomical life.</p> - -<p>She read systematically, and cultivated -personal relations with a wide<span class="pagenum"><a id="Page_14"></a>[14]</span> -circle of astronomical workers, in -person, or by correspondence. I -consider that these relations had -much to do with the success of her -work. Her sympathies were so -keen, her interest so warm, her -longing for further truth so intense,—that -every one liked to offer her -all they could!</p> - -<p>In 1890 appeared her second book, -<i>The System of the Stars</i>.</p> - -<p>The <i>Observatory</i> for December -1890 contains an article by me on -this work. A review, in the strict -sense of the term, it was not, because<span class="pagenum"><a id="Page_15"></a>[15]</span> -there was much in the book which, -for obvious reasons, I could not -discuss without becoming controversial. -But upon one important -question I spoke strongly; and I -venture now to recall and re-urge -the position I then tried to expound. -Briefly it is this. The progress of -Science and the growth of its literature -during the last quarter of a -century has been so enormous, that -a new order of worker is imperatively -called for; and I hailed in -Agnes Clerke an admirable example -of such a worker, devoting herself<span class="pagenum"><a id="Page_16"></a>[16]</span> -to Astronomy, which is at once the -oldest and, in its new developments, -the youngest of the Sciences—the -science which Poincaré has lately -so eloquently declared has given -the conception of <i>law</i> to all the -others.</p> - -<p>I ventured to sketch what should -be the qualifications and aims of -such workers; and the years which -have gone by since 1890 have but -deepened my conviction that there -is a splendid and ever-growing field—even -now white unto harvest—ready -for these special workers.<span class="pagenum"><a id="Page_17"></a>[17]</span> -Their mission is to collect, collate, -correlate, and digest the mass of -observations and papers—to chronicle, -in short, on one hand; and on the -other, to discuss and suggest, and -to expound: that is, to prepare -material for experts, and at the -same time to inform and interest -the general public. There is urgent -need of better educated public -opinion in this country.</p> - -<p>That such a mission may be a -splendid and fruitful one has been -shown by Agnes Clerke; what careful -preparation it requires, and how<span class="pagenum"><a id="Page_18"></a>[18]</span> -much it demands of those who -would enter upon it, her career -also shows.</p> - -<p>The immense increase in astronomical -literature is hardly realised -except by those engaged in dealing -with it. To give but one instance—“The -Annual Index of Astronomical -Literature for 1905,” published under -the auspices of the <i>Astronomische -Gesellschaft</i>, contains over two -thousand references, collated from -three hundred separate publications.</p> - -<p>The strain of such work as I am -indicating is great indeed, involving,<span class="pagenum"><a id="Page_19"></a>[19]</span> -as it should, the power of holding -loose in the mind, so to speak, an -immense mass of facts, and also a -power of rapidly associating or dissociating -them as work and discovery -may suggest.</p> - -<p>In one of her latest works, <i>Modern -Cosmogonies</i>, Agnes Clerke herself -dwelt upon this strain. “Year by -year,” she says (p. 160), “details -accumulate, and the strain of keeping -them under mental command -becomes heavier.”</p> - -<p>Pathetic words! written—almost -in blood! For not long before had<span class="pagenum"><a id="Page_20"></a>[20]</span> -been published her last large work, -<i>Problems in Astrophysics</i>; a work she -feared she could not live to complete—a -work which at times she -was only able to toil at for half-hour -periods.</p> - -<hr class="tb" /> - -<p>All through her life Agnes Clerke -was a student. Lectures and Friday -Evening Discourses at the Royal -Institution which bore upon her -work she was careful to attend. -A three months’ visit to Sir David -and Lady Gill at the Cape in -1888 gave her some Observatory<span class="pagenum"><a id="Page_21"></a>[21]</span> -opportunities which increased her -power of clearly realising the records -of observatory and laboratory -work. Sir George Baden-Powell -invited her to accompany his yachting -party to Novaya Zemlya for -the solar eclipse of August 1896. -When I expressed very strongly -my regret that she had declined -this invitation (chiefly I now know -because she feared she might be -prevented from keeping literary engagements -absolutely to time), she -surprised me a week later with an -earnest request that she and I<span class="pagenum"><a id="Page_22"></a>[22]</span> -should form a little expedition of -two, and try what <i>we</i> could see. -She had divined an unspoken -longing of mine, and I cannot -refrain from recording the unselfish -love that would fain have -gratified me. But it could not be.</p> - -<p>She was awarded in 1892 the -Actonian Prize of one hundred -guineas for her works on Astronomy, -by the Royal Institution; and in -1901 was commissioned by the -Managers to write the first Essay -under the Hodgkins Trust, on Low -Temperature Research at the Royal<span class="pagenum"><a id="Page_23"></a>[23]</span> -Institution by Professor Sir James -Dewar from 1893-1900.</p> - -<p>In 1903 she received the distinction -of being elected an Hon. -Member of the Royal Astronomical -Society—an honour and title held -previously only by Mrs. Somerville, -Caroline Herschel, and Ann -Sheepshanks. I may perhaps be -permitted to say that my own -deep gratification in my share of -this great honour conferred on us -by the Society was heightened by -receiving it with Agnes Clerke.</p> - -<p>She was a frequent attendant at<span class="pagenum"><a id="Page_24"></a>[24]</span> -the meetings of both the Royal -Astronomical Society and the British -Astronomical Association, and always -an interested one. Occasionally she -spoke; but she had no liking for -speaking in public, nor indeed was -she well suited for it.</p> - -<hr class="tb" /> - -<p>A complete list of Agnes Clerke’s -papers it would be difficult to compile. -They were, in truth, innumerable. -Her articles on astronomers -for the <i>Dictionary of National -Biography</i>—out of the sixty-six -volumes which constitute this great<span class="pagenum"><a id="Page_25"></a>[25]</span> -work there are only eleven to which -she did not contribute,—articles for -the <i>Encyclopædia Britannica</i>, and -for other encyclopædias were many, -and all of them were models of -painstaking inquiry and of clear, -concise statement. The more important -of these, that on Laplace in -the <i>Encyclopædia Britannica</i>, for instance, -are of lasting interest and -value.</p> - -<p>Her larger works are:—</p> - -<div class="blockquot"> - -<p><i>History of Astronomy in the -Nineteenth Century</i> (4 editions).</p> - -<p><i>The System of the Stars.</i></p> - -<p><span class="pagenum"><a id="Page_26"></a>[26]</span><i>Familiar Studies in Homer.</i></p> - -<p><i>The Herschels and Modern Astronomy.</i></p> - -<p><i>Concise History of Astronomy.</i></p> - -<p><i>Modern Cosmogonies.</i></p> - -<p><i>Problems in Astrophysics.</i></p></div> - -<p>I venture to think that the -<i>History of Astronomy in the Nineteenth -Century</i> is the most important -of her works. It is admirable in its -completeness of references, its wide -inclusiveness, and in its lucidity. It -deserves to live, and it assuredly will -live—the invaluable continuation of -Grant’s fine work. <i>The System of<span class="pagenum"><a id="Page_27"></a>[27]</span> -the Stars</i> and the <i>Problems in Astrophysics</i> -are works of a different order. -Treasuries of knowledge and of -suggestion they certainly are.</p> - -<p>The <i>Homeric Studies</i>, except in -one chapter, are not specially astronomical; -but they are evidence of -width of culture and of wide intellectual -interest, and are full of -delightful touches of wit and of -humour.</p> - -<p><i>The Herschels</i> is excellent and -agreeable biographical reading. Three -lives are vividly set forth in little -more than two hundred octavo pages.</p> - - - -<p><span class="pagenum"><a id="Page_28"></a>[28]</span>It seems to me a mistake to regard -Agnes Clerke’s smaller works as of -less importance than her larger ones.</p> - -<p>I have said that I consider the -<i>History</i> her greatest work. But, in -some respects, I venture to think -that her greatest achievement is -<i>Modern Cosmogonies</i>. I claim for -this book that it is not only a -history, but a work of philosophical -thinking and of imaginative insight -of a very high order.</p> - -<p>Its small size is an accident. It -is a work essentially great. In these -superbly brilliant sketches Agnes<span class="pagenum"><a id="Page_29"></a>[29]</span> -Clerke’s style is at its best. Usually, -it suffers from effort; the lucidity -may be laboured, and the perpetual -antithesis may sometimes be wearying. -I have spoken of her laboriousness -in study and in work, and -can adorn the tale by relating what -was surely a very remarkable performance. -She had at the time -no knowledge of Portuguese, but as -part of her preparation for an article -in the <i>Edinburgh Review</i> “Don -Sebastian and his Personators,” in six -weeks she not only acquired considerable -knowledge of the language,<span class="pagenum"><a id="Page_30"></a>[30]</span> -but read the whole of the <i>Lusiad</i> -in the original!</p> - -<p><i>Le Style, c’est l’homme</i>; is it surprising -that the physical efforts she -made I fear only too often, tended -to render her writing laboured at -times?</p> - -<p>But the writing in <i>Modern Cosmogonies</i>, -good as it is, is a small -matter compared with the masterly -grasp of, I may say, all things, and -of their inter-relations, which the -work reveals. And where else is -shown in recent philosophical writing -such vision and faculty divine for<span class="pagenum"><a id="Page_31"></a>[31]</span> -seizing and pointing out the reasonable -spiritual clues, set in what we -call Nature,—clues helping to sustainment -of soul in the midst of the -majestic mysteries surrounding us?</p> - -<hr class="tb" /> - -<p>No sketch of Agnes Clerke would -be complete without reference to her -love of music. To her music was in -the highest sense of the term a -recreation. She turned to it for very -life. Her piano-playing was truly -musicianly, and her repertory was -large. Perhaps on the whole, her -playing was at its best in rendering<span class="pagenum"><a id="Page_32"></a>[32]</span> -Chopin. As an accompanist -she excelled. Her teachers were,—in -Dublin, Miss Flynn; in Florence, -Buonamici.</p> - -<p>I record here the complete story -of her introduction to Liszt. One -moonlight night in the spring of -either 1868 or 1869, Mrs. Clerke -and her daughters rambling about -Rome were fascinated by such -piano-playing as they had never -before heard, and they stopped outside -the open window of the villa -and listened spellbound until the -unknown Maestro had finished and<span class="pagenum"><a id="Page_33"></a>[33]</span> -came to the window to look out -upon the night. Then the enthusiasm -of the hearers overcame conventionality, -and they gave free -expression to their admiration; and -the fifth act of the little drama was -that Liszt invited his listeners to -enter, promising to play again on -condition that Agnes first played -for him, which I believe she did.</p> - -<p>Remarkable as were the intellectual -powers of Agnes Clerke, her -moral endowments were equally so. -It was a question we frequently debated—the -influence of character on<span class="pagenum"><a id="Page_34"></a>[34]</span> -work; and as I write the memory of -certain talks is hauntingly present. -As is the heart, is the work. The best -work is and must be associated with -lofty character. It was so with -Agnes Clerke. No purer, loftier, -and yet sweetly unselfish and human -soul has lived. She was so incapable -of meanness that she even incurred -danger as a historian in crediting -too readily all workers with her own -high ideals.</p> - -<p>As a friend and companion she -was faithful and true, and full of -charm; and without her the world<span class="pagenum"><a id="Page_35"></a>[35]</span> -to those who had her friendship -seems darkened and empty.</p> - -<p>But her mission, I must believe, -was accomplished. For twenty years -she had been to modern Astronomy -an admirable historian, and had kept -before working astronomers clear -charts, so to speak, of what was -being done, and of what should -and might be done. In so doing -she rendered splendid service, and -inaugurated a kind of work which -must be more and more needed—a -kind of work which not only advances -Astronomy, but promotes a universal<span class="pagenum"><a id="Page_36"></a>[36]</span> -brotherhood and co-operation, golden -indeed.</p> - -<p>Agnes Clerke’s death comes as a -shock to many. A cold—I fear not -sufficiently nursed at first—led to -pneumonia and complications, and in -spite of all that devoted love and -skill could do, she passed gently to -the next life, peaceful and fully -conscious almost to the last, on the -morning of January 20, 1907.</p> - -<div class="blockquot"> - -<p><i>Note.</i>—The portrait is from a photograph taken -by Mendelssohn in 1895.</p></div> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_37"></a>[37]</span> - -<h2 class="nobreak">“EDINBURGH” ARTICLES</h2> -</div> - -<p class="center"><i>List of Papers contributed to Edinburgh Review<br /> -by Agnes Mary Clerke</i></p> - -<table border="0" cellpadding="2" cellspacing="2" summary="table"> - -<tr><td class="tdr">1.</td><td> April</td><td> 1877.</td><td> Brigandage in Sicily.</td></tr> -<tr><td class="tdr">2.</td><td> July</td><td class="tdc"> ”</td><td> Copernicus in Italy.</td></tr> -<tr><td class="tdr">3.</td><td> Jan.</td><td> 1878.</td><td> Harvey and Cesalpino.</td></tr> -<tr><td class="tdr">4.</td><td> July</td><td class="tdc"> ”</td><td> Origin and Wanderings of the Gypsies.</td></tr> -<tr><td class="tdr">5.</td><td> Jan.</td><td> 1879.</td><td> Campanella and Modern Italian Thought.</td></tr> -<tr><td class="tdr">6.</td><td> Oct.</td><td class="tdc"> ”</td><td> Spedding’s Life of Bacon.</td></tr> -<tr><td class="tdr">7.</td><td> July</td><td> 1880.</td><td> The English Precursors of Newton.</td></tr> -<tr><td class="tdr">8.</td><td> Oct.</td><td class="tdc"> ”</td><td> The Chemistry of the Stars.</td></tr> -<tr><td class="tdr">9.</td><td> Oct.</td><td> 1881.</td><td> Albania and Scanderbeg.</td></tr> -<tr><td class="tdr">10.</td><td> July</td><td> 1882.</td><td> Don Sebastian and his Personators.</td></tr> -<tr><td class="tdr">11.</td><td> April</td><td> 1883.</td><td> Volcanoes and Volcanic Action.</td></tr> -<tr><td class="tdr">12.</td><td> Oct.</td><td> 1883.</td><td> Prowe’s Life of Copernicus.</td></tr> -<tr><td class="tdr">13.</td><td> July</td><td> 1884.</td><td> The Future of the Congo.</td></tr> -<tr><td class="tdr">14.</td><td> Oct.</td><td class="tdc"> ”</td><td> Mountain Observatories.</td></tr> -<tr><td class="tdr">15.</td><td> Oct.</td><td> 1885.</td><td> The Faith of Iran, Lady Marian.</td></tr> -<tr><td class="tdr">16.</td><td> July</td><td> 1886.</td><td> Alford on Art Needlework.</td></tr> -<tr><td class="tdr">17.</td><td> Oct.</td><td class="tdc"> ”</td><td> The Aurora Borealis.</td></tr> -<tr><td class="tdr">17<i>a</i>.</td><td> Jan.</td><td> 1887.</td><td> The House of Douglas.</td></tr> -<tr><td class="tdr">18.</td><td> July</td><td class="tdc"> ”</td><td> The Life and Works of Giordano Bruno.</td></tr> -<tr><td class="tdr">19.</td><td> Jan.</td><td> 1888.</td><td> Sidereal Photography.</td></tr> -<tr><td class="tdr">20.</td><td> Oct.</td><td class="tdc"> ”</td><td> The Law of Storms.</td></tr> -<tr><td class="tdr">21.</td><td> Oct.</td><td> 1889.</td><td> East Africa.</td></tr> -<tr><td class="tdr">22.</td><td> July</td><td> 1890.</td><td> Life and Works of Lavoisier.</td></tr> -<tr><td class="tdr">23.</td><td> April</td><td> 1891.</td><td> Scandinavian Antiquities.<span class="pagenum"><a id="Page_38"></a>[38]</span></td></tr> -<tr><td class="tdr">24.</td><td> Oct.</td><td class="tdc"> ”</td><td> A Moorland Parish.</td></tr> -<tr><td class="tdr">25.</td><td> April</td><td> 1892.</td><td> The Ice Age in North America.</td></tr> -<tr><td class="tdr">26.</td><td> July</td><td class="tdc"> ”</td><td> The Discovery of America.</td></tr> -<tr><td class="tdr">27.</td><td> April</td><td> 1893.</td><td> Proctor’s Old and New Astronomy.</td></tr> -<tr><td class="tdr">28.</td><td> Oct.</td><td class="tdc"> ”</td><td> Sir H. Howarth on the Great Flood.</td></tr> -<tr><td class="tdr">29.</td><td> Jan.</td><td> 1894.</td><td> Among the Hairy Ainus.</td></tr> -<tr><td class="tdr">30.</td><td> April</td><td class="tdc"> ”</td><td> The Liquefaction of Gases.</td></tr> -<tr><td class="tdr">31.</td><td> Oct.</td><td class="tdc"> ”</td><td> The Letters of Edward FitzGerald.</td></tr> -<tr><td class="tdr">32.</td><td> July</td><td> 1895.</td><td> Problems of the Far East.</td></tr> -<tr><td class="tdr">33.</td><td> Oct.</td><td class="tdc"> ”</td><td> Argon and Helium.</td></tr> -<tr><td class="tdr">34.</td><td> Oct.</td><td> 1896.</td><td> New Views about Mars.</td></tr> -<tr><td class="tdr">35.</td><td> July</td><td> 1897.</td><td> Two Recent Astronomers.</td></tr> -<tr><td class="tdr">36.</td><td> April</td><td> 1898.</td><td> Recent Solar Eclipses.</td></tr> -<tr><td class="tdr">37.</td><td> Oct.</td><td class="tdc"> ”</td><td> Ethereal Telegraphy.</td></tr> -<tr><td class="tdr">38.</td><td> April</td><td> 1899.</td><td> The Origin of Diamonds.</td></tr> -<tr><td class="tdr">39.</td><td> Oct.</td><td class="tdc"> ”</td><td> The November Meteors.</td></tr> -<tr><td class="tdr">40.</td><td> April</td><td> 1900.</td><td> The Evolution of the Stars.</td></tr> -<tr><td class="tdr">41.</td><td> Oct.</td><td class="tdc"> ”</td><td> Hermann von Helmholtz.</td></tr> -<tr><td class="tdr">42.</td><td> July</td><td> 1901.</td><td> Temporary Stars.</td></tr> -<tr><td class="tdr">43.</td><td> July</td><td> 1902.</td><td> The last Voyage of Ulysses.</td></tr> -<tr><td class="tdr">44.</td><td> Jan.</td><td> 1903.</td><td> Double Stars.</td></tr> -<tr><td class="tdr">45.</td><td> Oct.</td><td class="tdc"> ”</td><td> The Revelations of Radium.</td></tr> -<tr><td class="tdr">46.</td><td> Jan.</td><td> 1904.</td><td> Fahie’s Life of Galileo.</td></tr> -<tr><td class="tdr">47.</td><td> July</td><td class="tdc"> ”</td><td> Life in the Universe.</td></tr> -<tr><td class="tdr">48.</td><td> April</td><td> 1905.</td><td> Earthquakes and the New Seismology.</td></tr> -<tr><td class="tdr">49.</td><td> July</td><td> 1906.</td><td> A Representative Philosopher.</td></tr> -<tr><td class="tdr">50.</td><td> Jan.</td><td> 1907.</td><td> The Old and the New Alchemy.</td></tr> -</table> - -<hr class="chap" /> - -<p><span class="pagenum"><a id="Page_38b"></a></span></p> -<div class="figcenter"><img src="images/i_p_38i.jpg" alt="" /></div> - -<p class="center"><span class="gap"><small><i>C. Skillman.</i></small></span></p> - -<p class="caption">ELLEN MARY CLERKE.</p> - - -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_39"></a>[39]</span> - -<h2 class="nobreak">ELLEN MARY CLERKE</h2> -</div> - - -<p><span class="smcap">Ellen Mary Clerke</span>, the only sister -of Agnes Clerke, whose interest in -Astronomy was also keen, was born -at Skibbereen on September 26, -1840. She shared her sister’s life, -and her devotion to her contributed -not a little to the perfect fulfilment -of its mission.</p> - -<p>Acutely sensitive to the beautiful, -and with a rare capacity for enthusiasms,<span class="pagenum"><a id="Page_40"></a>[40]</span> -Ellen Clerke was first of all -a poet. But she was much besides. -She was an accomplished linguist; -and the years she spent in Italy were -devoted to such study of Italian -literature as enabled her later to do -excellent original work in connection -with it. An admirable article by -her in the <i>Dublin Review</i> for October -1879, on “The Age of Dante in the -Florentine Chronicles,” well deserves -remembrance, so full is it of the -illumination of wide reading and -of careful thinking. Alas! only -too many articles by her have passed<span class="pagenum"><a id="Page_41"></a>[41]</span> -into magazine oblivion. Some of -these were written in foreign tongues—a -sure proof of mastery of them. -For instance, in 1869 she published -a pamphlet in German with the title -<i>Das Judenthum in der Musik</i>; while, -besides many articles and reviews in -Italian in the Florentine periodicals, -she published in one of these a serial -story in Italian, called <i>Sotto le Sette -Stelle</i>. She had also a knowledge -of Arabic by no means inconsiderable.</p> - -<p>Her interest in geographical science -was not generally known; but she<span class="pagenum"><a id="Page_42"></a>[42]</span> -was a valued member of the Manchester -Geographical Society, and -contributed to its Journal.</p> - -<p>As regards Astronomy, she has -left useful evidence of her warm interest -in the subject in two excellent -popular monographs, and in various -articles.</p> - -<p>A list of Ellen Clerke’s works is -given at the end of this sketch, but -special mention must be made of her -work as a journalist. Her friends -might regret—as I did for one—that -so much of her time was thus -spent; but, after all, journalism is<span class="pagenum"><a id="Page_43"></a>[43]</span> -what the journalist makes it; and it -cannot be denied that it is a great -and increasing power in our midst.</p> - -<p>Assuredly Ellen Clerke always -used her opportunities as a journalist -for noble ends. For the last twenty -years of her life she wrote a weekly -leader for the <i>Tablet</i>,—usually on -subjects connected with the Church -abroad; and on several occasions -during the temporary absence of the -Editor she filled his place at his -request.</p> - -<p>Many of her literary articles contributed -to various periodicals were<span class="pagenum"><a id="Page_44"></a>[44]</span> -critical, and that she was a generous -and encouraging as well as a capable -critic the following facts pleasingly -illustrate.</p> - -<p>In the <i>Westminster Review</i> for -October 1878 she had an article on -“The later Novels of Berthold Auerbach.” -It met the eye of the novelist, -and he directed to be sent to her a -copy of his <i>Landolin von Reutershöfen</i>, -inscribed: “To the Author of -the article in the <i>Westminster Review</i>, -October 1878, with kind regards of -Berthold Auerbach. Berlin, Nov. -14, 1878.”</p> - - - -<p><span class="pagenum"><a id="Page_45"></a>[45]</span>It is singular that the poems of -Ellen Clerke, published in 1881, -should not have attracted more -attention. The volume is now, I -believe, almost, if not entirely, out of -print; and partly on this account, -partly because of its subject and of -its beauty, I give here one of the -poems.</p> - - -<p class="center">NIGHT’S SOLILOQUY</p> - -<div class="poetry-container"> -<div class="poetry"> -<div class="stanza"> -<div class="verse">Who calls me dark? for do I not display</div> -<div class="indent">Wonders that else man’s eye would never see?</div> -<div class="verse">Waste in the blank and blinding glare of Day,</div> -<div class="indent">The heavens bud forth their glories but to me.</div> -</div> -<div class="stanza"> -<div class="verse">Is it not mine to pile their crystal cup,</div> -<div class="indent">Drain’d by the thirsty sun and void by day,</div><span class="pagenum"><a id="Page_46"></a>[46]</span> -<div class="verse">Brimful of living gems, profuse heap’d up,</div> -<div class="indent">The bounteous largesse of my royal way?</div> -</div> -<div class="stanza"> -<div class="verse">Mine to call o’er at dusk the roll of heav’n,</div> -<div class="indent">Array its glittering files in order due?</div> -<div class="verse">To beckon forth the lurking star of Even,</div> -<div class="indent">And bid the constellations start to view?</div> -</div> -<div class="stanza"> -<div class="verse">The wandering planets to their paths recall,</div> -<div class="indent">And summon to the muster tenant spheres,</div> -<div class="verse">Till thronging to my standard one and all,</div> -<div class="indent">They crowd the zenith in unfathom’d tiers?</div> -</div> -<div class="stanza"> -<div class="verse">Do <i>I</i> not lure stray sunbeams from the day,</div> -<div class="indent">To hurl them broadcast as wing’d meteors forth?</div> -<div class="verse">Strew sheaves of fiery arrows on my way,</div> -<div class="indent">And blazon my dark spaces in the north?</div> -</div> -<div class="stanza"> -<div class="verse">Is not a crown of lightnings mine to wear,</div> -<div class="indent">When polar flames suffuse my skies with splendour?</div> -<div class="verse">And mine the homage with the sun to share,</div> -<div class="indent">His vagrant vassals rush through space to render?</div> -</div> -<div class="stanza"><span class="pagenum"><a id="Page_47"></a>[47]</span> -<div class="verse">Who calls me secret? are not hidden things,</div> -<div class="indent">Reveal’d to science when with piercing sight</div> -<div class="verse">She looks beneath the shadow of my wings,</div> -<div class="indent">To fathom space and sound the infinite?</div> -</div> -<div class="stanza"> -<div class="verse">In plasmic light do I not bid her trace</div> -<div class="indent">Germs from creation’s dawn maturing slow?</div> -<div class="verse">And in each filmy chaos drown’d in space</div> -<div class="indent">See suns and systems yet in embryo?</div> -</div></div></div> - -<p>Miss Clerke specially enjoyed -romantic subjects; and the sea and -shipping appealed to her strongly. -Her ballad on <i>The Flying Dutchman</i> -legend is one of the finest treatments -of the subject I have met with, and it -is to be regretted that it is not better -known, for it would lend itself well -both to the reciter and to the musician.</p> - - - -<p><span class="pagenum"><a id="Page_48"></a>[48]</span>The volume of poems gave evidence -of a special gift which in later years -the author cultivated with great -success,—that of verse translation. -Her delightful and valuable book, -<i>Fable and Song in Italy</i>, is illustrated -throughout with her own -versions; and although I do not -pretend to have compared each -version with its original, I venture -to say that the translations are, as a -whole, wonderfully faithful, and that -when the number of them, and the -variety of subjects and of measures, -are considered, the verse part alone<span class="pagenum"><a id="Page_49"></a>[49]</span> -of the work is a notable achievement. -The prose part is more than a mere -setting; it is full of touches of illuminating -thought, and many little-known -facts are brought together -suggestively, while many of the -descriptive passages are wonderfully -vivid. In Dr. Garnett’s <i>History of -Italian Literature</i> the English versions -selected by him from Boiardo -and some other poets were by Ellen -Clerke.</p> - -<p>Ellen Clerke’s literary style was -lighter and more spontaneous than -her sister’s.</p> - - - -<p><span class="pagenum"><a id="Page_50"></a>[50]</span>Like her sister she was highly -musical, and her instrument was the -guitar. A pupil of Madame Pratten, -she had through the practice of many -years acquired a mastery of the instrument -unusual in an amateur, -managing it with great skill, and -arranging for it many an accompaniment. -To the last almost, her singing -to the guitar was full of charm; -and in earlier years when the sisters -sang together to her guitar accompaniment -the performance was delightful.</p> - -<p>A devoted and exemplary Catholic,<span class="pagenum"><a id="Page_51"></a>[51]</span> -Ellen Clerke was untiring in her zeal -for all good works. Unselfish and -loving, she was a devoted daughter, -sister, and friend. Fonder of society -than her sister, it was perhaps natural -that she did not pursue literary work -in the same persistent way. And it -fell in with her sociability that -she pulled a good oar and enjoyed -riding.</p> - -<p>These sisters were lovely and -pleasant in their lives, and in death -they were but little divided. Ellen -Clerke died after a short illness on -March 2, 1906.</p> -<hr class="chap" /> - -<div class="chapter"> -<span class="pagenum"><a id="Page_52"></a>[52]</span> - -<h3 class="nobreak"><span class="smcap">A List of the Works of<br /> -Ellen Clerke</span></h3> -</div> - - -<div class="blockquot"> - -<p>Poems: <i>The Flying Dutchman -and Other Poems</i>. (1881.)</p> - -<p>Versified translations of Italian -poetry in Dr. Garnett’s <i>History -of Italian Literature</i>. (1898.)</p> - -<p><i>Fable and Song in Italy.</i> (1899.)</p> - -<p><i>Flowers of Fire</i>: a novel which -gives an admirable account of -the phenomena of an eruption of -Vesuvius. (1902.)</p> - -<p>An immense number of magazine -articles, including a weekly<span class="pagenum"><a id="Page_53"></a>[53]</span> -leader contributed for twenty -years to the <i>Tablet</i>.</p> - -<p>Monograph on <i>Jupiter and his -System</i>. (1892.)</p> - -<p>Monograph on <i>Venus</i>. (1893.)</p> - -<p>An article in the <i>Observatory</i>, vol. -xv. p. 271.</p></div> - -<p>The monographs on Jupiter and -on Venus, although unpretentious, -are based upon careful reading of -the best authorities, and are written -in a way which places them above -the ordinary popularisers.</p> - -<p>The article above referred to in -the <i>Observatory</i> was the outcome of<span class="pagenum"><a id="Page_54"></a>[54]</span> -her Arabic reading, and showed that -there can be little doubt that the -variability of Algol had been noticed -by the Arabian astronomers.</p> - -<div class="blockquot"> - -<p><i>Note.</i>—The portrait is from a photograph taken -not long before death.</p></div> - -<p class="right"><span class="smcap">Margaret L. Huggins.</span></p> - -<pre style='margin-top:6em'> -*** END OF THE PROJECT GUTENBERG EBOOK AGNES MARY CLERKE AND ELLEN MARY -CLERKE *** - -This file should be named 64057-h.htm or 64057-h.zip - -This and all associated files of various formats will be found in: -https://www.gutenberg.org/6/4/0/5/64057/ - -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 will 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. - -</pre> -</body> -</html> diff --git a/old/64057-h/images/cover.jpg b/old/64057-h/images/cover.jpg Binary files differdeleted file mode 100644 index 34f1ef5..0000000 --- a/old/64057-h/images/cover.jpg +++ /dev/null diff --git a/old/64057-h/images/i_f_12i.jpg b/old/64057-h/images/i_f_12i.jpg Binary files differdeleted file mode 100644 index a86cd2a..0000000 --- a/old/64057-h/images/i_f_12i.jpg +++ /dev/null diff --git a/old/64057-h/images/i_frontis.jpg b/old/64057-h/images/i_frontis.jpg Binary files differdeleted file mode 100644 index 97498b8..0000000 --- a/old/64057-h/images/i_frontis.jpg +++ /dev/null diff --git a/old/64057-h/images/i_p_38i.jpg b/old/64057-h/images/i_p_38i.jpg Binary files differdeleted file mode 100644 index cb96eb4..0000000 --- a/old/64057-h/images/i_p_38i.jpg +++ /dev/null |
