diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-22 09:14:42 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 09:14:42 -0800 |
| commit | 922483e31ad1d1cd50a7355546e4a761313e82dc (patch) | |
| tree | 661fbb132f442602a6b3bc7b3038b478a620e301 /old/67008-h | |
| parent | c9ad33068aff13347965a897c673f46091c07628 (diff) | |
Diffstat (limited to 'old/67008-h')
| -rw-r--r-- | old/67008-h/67008-h.htm | 3053 | ||||
| -rw-r--r-- | old/67008-h/images/cover.jpg | bin | 258061 -> 0 bytes | |||
| -rw-r--r-- | old/67008-h/images/header.jpg | bin | 47012 -> 0 bytes | |||
| -rw-r--r-- | old/67008-h/images/i_056.jpg | bin | 120287 -> 0 bytes |
4 files changed, 0 insertions, 3053 deletions
diff --git a/old/67008-h/67008-h.htm b/old/67008-h/67008-h.htm deleted file mode 100644 index 1d30db1..0000000 --- a/old/67008-h/67008-h.htm +++ /dev/null @@ -1,3053 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - Chambers’s Journal, by Various—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,h4,h5,h6 { - text-align: center; /* all headings centered */ - clear: both; -} - -.ph3{ - text-align: center; - font-size: large; - font-weight: bold; -} - - -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%;} -@media print { hr.chap {display: none; visibility: hidden;} } -hr.full {width: 95%; margin-left: 2.5%; margin-right: 2.5%;} - -.header {text-align: center; margin-top: 0;} -.header p {text-align: center; text-indent: 0;} -.header .floatl {float: left;} -.header .floatr {float: right;} -.header .floatc {padding-top: .5em;} - -@media handheld -{ -.header {text-align: center; margin-top: 0;} -.header p {text-align: center; text-indent: 0;} -.header .floatl {float: left;} -.header .floatr {float: right;} -.header .floatc {padding-top: .5em;} -} - - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; - font-style: normal; - font-weight: normal; - font-variant: normal; -} /* page numbers */ - - -.center {text-align: center;} - -.right {text-align: right;} - -.smcap {font-variant: small-caps;} - -.caption {font-weight: bold;} - - -/* Images */ - -img { - max-width: 100%; - height: auto; -} -img.w100 {width: 100%;} - - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} - - -/* Poetry */ -.poetry-container {text-align: center;} -.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} -/* uncomment the next line for centered poetry in browsers */ -.poetry {display: inline-block;} -.poetry .stanza {margin: 1em auto;} -.poetry .verse {text-indent: -3em; padding-left: 3em;} -/* large inline blocks don't split well on paged devices */ -@media print { .poetry {display: block;} } -.x-ebookmaker .poetry {display: block;} - -/* Poetry indents */ -.poetry .indent0 {text-indent: -3em;} -.poetry .indent2 {text-indent: -2em;} - -/* Illustration classes */ -.illowp74 {width: 74%;} -.x-ebookmaker .illowp74 {width: 100%;} - - - - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 108, Vol. III, January 23, 1886, by Various </p> -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Chambers's Journal of Popular Literature, Science, and Art, Fifth Series, No. 108, Vol. III, January 23, 1886</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Various </p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: December 25, 2021 [eBook #67008]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Susan Skinner, Eric Hutton and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CHAMBERS'S JOURNAL OF POPULAR LITERATURE, SCIENCE, AND ART, FIFTH SERIES, NO. 108, VOL. III, JANUARY 23, 1886 ***</div> -<p><span class="pagenum" id="Page_49">{49}</span></p> - -<h1>CHAMBERS’S JOURNAL<br /> -OF<br /> -POPULAR<br /> -LITERATURE, SCIENCE, AND ART</h1> - -<div class="chapter"> -<h2 class="nobreak">CONTENTS</h2> -</div> - -<p class='center'> - -<!-- Autogenerated TOC. Modify or delete as required. --> - -<a href="#AN_ANGLERS_IDYLL">AN ANGLER’S IDYLL.</a><br /> -<a href="#IN_ALL_SHADES">IN ALL SHADES.</a><br /> -<a href="#OUR_DOMESTICATED_OTTER">OUR DOMESTICATED OTTER.</a><br /> -<a href="#A_GOLDEN_ARGOSY">A GOLDEN ARGOSY.</a><br /> -<a href="#SNOW-BLOSSOM">SNOW-BLOSSOM.</a><br /> -<a href="#OCCASIONAL_NOTES">OCCASIONAL NOTES.</a><br /> -<a href="#AT_WAKING">AT WAKING.</a><br /> - -<!-- End Autogenerated TOC. --> - -</p> - - -<hr class="full" /> - -<div class="chapter"> -<div class="figcenter" id="header" style="max-width: 37.5em;"> - <img class="w100" src="images/header.jpg" alt="Chambers’s Journal of Popular Literature, Science, -and Art. Fifth Series. Established by William and Robert Chambers, 1832. Conducted by R. Chambers (Secundus)." /> -</div> - -<hr class="full" /> -<div class="center"> -<div class="header"> -<p class="floatl"><span class="smcap">No. 108.—Vol. III.</span></p> -<p class="floatr"><span class="smcap">Price</span> 1½<em>d.</em></p> -<p class="floatc">SATURDAY, JANUARY 23, 1886.</p> -</div></div></div> - -<hr class="full" /> - - - -<div class="chapter"> -<h2 class="nobreak" id="AN_ANGLERS_IDYLL">AN ANGLER’S IDYLL.</h2> -</div> - - -<p><span class="smcap">I am</span> once more at the water’s edge. It is the -Tweed, silver-voiced, musical, its ripples breaking -into liquid crystals as the rushing stream -leaps into the breast of the softly-circling pool. -Here, in its upper reaches, amid the pastoral -hills of Peeblesshire, its volume of fair water is -untainted by pollution. It has miles and miles -yet to run ere it comes up with the floating -scum and dismal discoloration of ‘mill-races’ -and the refuse of the dye-house. And, there!—is -not that Drummelzier Castle on the opposite -bank above, its gray walls powdered with -the yellows and browns of spreading lichens, -and its shattered bastions waving here and there -a crest of summer’s greenest grass? The fierce -old chieftains who wrangled Border-fashion in -its halls are silent to-day; the wild Tweedies -and Hays and Veitches have had their rough -voices smothered in the churchyard dust. From -the shady angle of the old tower steps out a great -brindled bull, leading his following of milky -dames to where the pasture is juicy in the -haughs below. I am thankful the broad deep -stream is between us, for as he lifts his head -and sees me where I stand, he announces his -displeasure in a short angry snort and a sudden -lashing of his ponderous tail. Perhaps it is -only the flies tormenting him. In any case, it -is well to be beyond his reach.</p> - -<p>Above me and around are the great brown hills -of Tweed-dale. They have this morning a dreamy -look. The soft west wind plays about them, and -the sunlight weaves a web of mingled glory and -gloom over their broad summits and down their -furrowed sides. The trees wave green branches -in the soft warm air; but I hear them not—only -the swish and tinkle of the waters. The -sheep that feed upon the long gray slopes -move about in a kind of spectral stillness; -I almost fancy I hear them bleat, but may -be mistaken, so far-off and dream-like is the -sound. A distant shot is heard, and a flock of -white pigeons rise with swift wing from the -summit of the battered old keep, and wheel -quick circles round the tower, then settle down -as still and unseen as before. And something -else is moving on the farther side. It is a milkmaid, -tripping down the bank towards the river, -her pitchers creaking as she goes. She pauses -ere dipping them in the stream, and looks with -level hand above her eyes across the meadows -now aflame with the morning sun. Perhaps she -expects to see some gallant Patie returning from -the ‘wauking o’ the fauld,’ or some bashful Roger -hiding mouse-like behind the willows. Her light -hair has been bleached to a still lighter hue by -the suns and showers of many a summer day, -but these, though they have bronzed her broad -brow and shapely neck, have left undimmed the -rosy lustre of her cheek. Light-handed, red-cheeked -Peggy, go thy way in sweet expectation! -When the westering sun flings purple -shadows over the hills, he whose rustic image -stirs thy glowing pulses shall steal to meet thee -here.</p> - -<p>And I?—what have I to do? There is the -tempting stream; the pliant rod, with its gossamer -line and daintily busked lures, is ready to -hand. Deft fingers have mounted it for me without -ostentation or display. There has been no -struggling with hanked line or tangled cast; I -have been served like a prince among anglers, -and am ready-equipped to step into the stream. -And yet at the moment I am all alone; for round -me only are the silent hills, and beneath me the -broadly-flowing Tweed.</p> - -<p>I have never fished so before. I feel as light -as if the normal fifteen pounds to the square -inch of atmospheric pressure no longer existed -for me. Ah, with what delight I feel the cool -water lapping round my limbs, as I fling the -light line far across the rippling stream, and -watch the ‘flies’ as they drop and float downwards -with the current. The broad brown -hills, the dewy woods, the gray tower, are forgotten -now. The brindled bull and his milky -following have gone, with the rosy milkmaid, -out of sight and out of mind. The pigeons<span class="pagenum" id="Page_50">{50}</span> -high on the shattered keep may wheel fleet -circles as they choose, and spread white wings in -the orient sun, but they cannot draw my eyes -from the charmed spot. Down there, in the -haugh beneath, near to where Powsail Burn joins -the Tweed, the thorn-tree is shading the wizard’s -grave; but gray Merlin, sleeping or waking, -living or dead, is nothing to me. Yonder, -up the river, is Mossfennan Yett, and the -Scottish king, for all I know, may once more -be riding round the Merecleugh-head, ‘booted -and spurred, as we a’ did see,’ to alight him -down, as in days of old, and ‘dine wi’ the -lass o’ the Logan Lea;’ but to me that old -royal lover is at this moment a thing of nought. -Border story and Border song, tale of love and -deed of valour—what are they now to me, -with the soft wind sighing round my head and -the swift river rushing at my feet?</p> - -<p>A splendid stream, indeed! For a hundred -yards it sweeps with broken and jagged surface, -from the broad shallow above to the deep dark -pool below. In the strong rush of its current, -it is not easy keeping your feet. The bottom is -of small pebbles, smooth and round, gleaming -yellow and brown through the clear water, and -they have an awkward knack of slipping cleverly -from beneath your feet, giving you every now -and then a queer sensation of standing upon -nothing. But this is only for a moment, or ever -so much less than a moment. For if it were -longer than the quickest thought, it might bring -you a bad five minutes. To lose your footing -in this swift-hurrying stream, might be to -have a fleet passage into the great pool that -hugs its black waters beneath the shadow of -yonder gloomy rock over which the pine-trees -wave their sunless boughs. But really, after all, -one has no fear of that. Usage gives security. -The railway train in which you sit quietly -reading the morning paper, might at any moment -leave the rails, or break an axle, or collide with -the stone bridge ahead; but you do not think -of that, or anticipate it—or, if you did, life would -not be worth living. So is it here in the broad -Tweed. With the faculties engrossed in the -work of the moment, foot and hand are equally -and instinctively alert. Slowly and securely -you move over the shining pebbles, making cast -after cast—wondering if ever you are to have a -rise.</p> - -<p>I must work here with cautious hand and -shortened line. For a belt of trees borders -the river on the farther side, and a long-armed -ash is pushing his boughs far out over the -stream, as if seeking to dip his leaf-tips in the -cool-flowing water. To hank one’s line on these -quivering boughs would lead to a loss of time -and probably of temper, and this morning everything -is too beautiful and bright for any angry -mood. As yet I have no success. Not a fin -is on the rise; not a single silvery scale has -glittered. Still, what beauties I know to be -lurking there. You see that point, where the -ground juts out a little into the stream, and a -ragged alder hangs with loosened roots from the -crumbling bank? It is being slowly undermined -by the stream, and one day will slip down and be -carried away. But as yet, it affords a rare sheltering-place -for the finny tritons. It was but last -season I hooked one at that very spot, and after -a long and stubborn fight got my net beneath -him, and went victor home.</p> - -<p>And I know that others are there still, as -brave and as beautiful as he. In fancy’s eye I -can see them even now, lying with head up-stream, -and motionless but for now and then a quick jerk -of the tail sideways, their yellow flanks gleaming -in speckled radiance when a sunbeam reaches -them through the fret-work of the overhanging -leaves. That sharp jerk of the tail sideways -means that they are keeping their weather-eye -open. Being, among other things, insectivorous, -they know if they would secure their prey -they must be quick about it, hence they are -ever on the alert. And yet, the flies which I -am offering must have passed close by them a -dozen times, but still they have stirred not, except -in that knowing way which indicates they are -not to be taken in. They have learned a thing -or two, these Tweed trout, since the time of the -Cæsars. Speak about animals not having reasoning -powers? Let any one who deludes himself -with this vain fallacy, purchase the best angling -apparatus going, and then try his hand upon -Tweed trout. Three hours afterwards he will -not feel quite so satisfied as to the immeasurable -superiority of man over the lower creatures. -He may even have some half-defined suspicion -that it is himself, and not the other party, that -has been taken in. And not without cause. -These Tweed trout can pick you out an artificial -fly as skilfully as a tackle-maker.</p> - -<p>The thought disheartens me for a moment, as -I stand here, lashing away, middle-deep in the -stream. But it is only for a moment. The -wind is soft; the air is bright, but not too -bright, with sunshine; a luminous haze is -gathering between me and the distant mountains, -and the skies have now more of gray than -of blue in their airy texture. Everything is -beautiful, from the soft contour of the rounded -hills to the glitter and sparkle of the silvery -stream.—But, there! My reel is whirring off -with a sound that seals the senses against everything -else. He is <i>on</i>! I saw him rise, and as -he turned to descend I struck—and there he is! -It was all quicker than thought. He has rushed -up-stream a dozen yards, but is turning now. -As I reel in, I begin mentally to calculate the -ratio of his weight to his strength of pull. This -is a useful thing to do; because if you should -happen to lose your fish, you are then in a -position to assure your friend Jones, who is -higher up the water, and very likely has done -nothing, that you had one ‘on’ which was two -pounds if it was an ounce. Jones will of -course believe it, and condole with you upon -your loss—perhaps with a secret chuckle.</p> - -<p>But this is digressive. I have other work -than to talk about Jones at present. Master -Fario is not taking kindly to the bridle which I -have put in his mouth, and is having another run -for it. There he goes, swish out of the water a -couple of feet. What an exhilarating moment! -Another leap and whirl, and off he goes careering -towards the pool below in a way you never saw. -But the line is running out after him, and still -he is fast. The fight is keen, but he is worth -fighting for. With the point of the rod well -up, and a considerable strain upon the line, he -must soon either yield—or break off. The alternative<span class="pagenum" id="Page_51">{51}</span> -is dreadful to contemplate. So I renew -my caution, and play him gently. By-and-by -I feel he is yielding. Reeling in once more, I -soon draw him within range of eyesight. What -a beauty he is! Plump and fat, the very pink -of trouts! Moving uneasily from side to side—boring -occasionally as if he would make -his way down to catch hold of something, but -with a swinging and swaying motion about him -indicative of failing power—he comes nearer and -nearer to me where I stand, breathless with -excitement, dreading lest, even at this last stage of -the struggle, I may yet lose him. The supreme -moment is at hand! He is almost at my feet. -I hold the rod with one hand, and with the other -undo the landing-net. He circles round me at -as great a distance as the shortened line will -allow, and though I have tried once or twice to -pass the net beneath him, he has hitherto managed -to baffle me. But now, at last, the net is -under him—and, there——</p> - -<hr class="tb" /> - -<p>Tap, tap!—‘Come in!’—And enter two or -three little ones to hid papa good-night. Ah, -little sweethearts, what a vision you have undone! -The flowing stream, the overhanging -trees, the old gray tower, the silent hills, have -all, at the touch of your tiny fingers, vanished!</p> - -<p>I was not dreaming—no, nor yet asleep. My -hook lies turned face down on my knee, and -my pipe, extinguished, is still between my lips. -It is towards the end of December; the Christmas -bells have already rung out their message, -and the New Year is waiting, in a few days to -be ushered in. Outside, the wind is blowing in -loud noisy gusts through the darkness, scattering -the snow-flakes before it in a level drift. Here, -in my bookroom, as I sat with foot on fender, -watching the glowing embers in the grate, thoughts -of summer days had stolen over me. I was once -more by silvery Tweed, under sunny skies, plying -‘the well-dissembled fly’—the storm and the -snow-drift without, being as if they were not. To -you, reader, I have uttered aloud the reverie of -those brief five minutes of swift fancy; to you, -brother anglers, may that phantasmal expedition -be the harbinger of coming sport; and with each -and all of you I now will part, bidding you -reverently, as I bid my little ones, Good-night!</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="IN_ALL_SHADES">IN ALL SHADES.</h2> -</div> - - -<h3>CHAPTER V.</h3> - -<p><span class="smcap">The</span> letter from Edward that had so greatly perturbed -old Mr Hawthorn had been written, of -course, some twenty days before he received it, -for the mail takes about that time, as a rule, -in going from Southampton across the Atlantic -to the port of Trinidad. Edward had already -told his father of his long-standing engagement -to Marian; but the announcement and acceptance -of the district judgeship had been so -hurried, and the date fixed for his departure -was so extremely early, that he had only just -had time by the first mail to let his father -know of his approaching marriage, and his determination -to proceed at once to the West Indies -by the succeeding steamer. Three weeks was -all the interval allowed him by the inexorable -red-tape department of the Colonial Office for -completing his hasty preparations for his marriage, -and setting sail to undertake his newly -acquired judicial functions.</p> - -<p>‘Three weeks, my dear,’ Nora cried in despair -to Marian; ‘why, you know, it can’t possibly -be done! It’s simply impracticable. Do -those horrid government-office people really -imagine a girl can get together a trousseau, and -have all the bridesmaids’ dresses made, and see -about the house and the breakfast and all that -sort of thing, and get herself comfortably married, -all within a single fortnight? They’re just like -all men; they think you can do things in less -than no time. It’s absolutely preposterous.’</p> - -<p>‘Perhaps,’ Marian answered, ‘the government-office -people would say they engaged Edward -to take a district judgeship, and didn’t stipulate -anything about his getting married before -he went out to Trinidad to take it.’</p> - -<p>‘Oh, well, you know, if you choose to look -at it in that way, of course one can’t reasonably -grumble at them for their absurd hurrying. -But still the horrid creatures ought to have a -little consideration for a girl’s convenience. Why, -we shall have to make up our minds at once, -without the least proper deliberation, what the -bridesmaids’ dresses are to be, and begin having -them cut out and the trimmings settled this -very morning. A wedding at a fortnight’s notice! -I never in my life heard of such a thing. I -wonder, for my part, your mamma consents to -it.—Well, well, I shall have you to take charge -of me going out, that’s one comfort; and I -shall have my bridesmaid’s dress made so that -I can wear it a little altered, and cut square -in the bodice, when I get to Trinidad, for a -best dinner dress. But it’s really awfully horrid -having to make all one’s preparations for the -wedding and for going out in such a terrible -unexpected hurry.’ However, in spite of Nora, -the preparations for the wedding were duly -made within the appointed fortnight, even that -important item of the bridesmaids’ dresses being -quickly settled to everybody’s satisfaction.</p> - -<p>Strange that when two human beings propose -entering into a solemn contract together for -the future governance of their entire joint existence, -the thoughts of one of them, and that -the one to whom the change is most infinitely -important, should be largely taken up for some -weeks beforehand with the particular clothes -she is to wear on the morning when the contract -is publicly ratified! Fancy the ambassador -who signs the treaty being mainly occupied for -the ten days of the preliminary negotiations -with deciding what sort of uniform and how -many orders he shall put on upon the eventful -day of the final signature!</p> - -<p>At the end of that short hurry-scurrying fortnight, -the wedding actually took place; and an -advertisement in the <i>Times</i> next morning duly -announced among the list of marriages, ‘At Holy -Trinity, Brompton, by the Venerable Archdeacon -Ord, uncle of the bride, assisted by the Rev. -Augustus Savile, B.D., <span class="smcap">Edward Beresford -Hawthorn</span>, M.A., Barrister-at-law, of the Inner -Temple, late Fellow of St Catherine’s College, -Cambridge, and District Judge of the Westmoreland -District, Trinidad, to <span class="smcap">Marian Arbuthnot</span>, -only daughter of General C. S. Ord, C.I.E.,<span class="pagenum" id="Page_52">{52}</span> -formerly of the Bengal Infantry.’ ‘The bride’s -toilet,’ said the newspapers, ‘consisted of white -broché satin de Lyon, draped with deep lace -flounces, caught up with orange blossoms. -The veil was of tulle, secured to the hair with -a pearl crescent and stars. The bouquet was -composed of rare exotics.’ In fact, to the coarse -and undiscriminating male intelligence, the whole -attire, on which so much pains and thought -had been hurriedly bestowed, does not appear -to have differed in any respect whatsoever from -that of all the other brides one has ever looked -at during the entire course of a reasonably long -and varied lifetime.</p> - -<p>After the wedding, however, Marian and Edward -could only afford a single week by way of a -honeymoon, in that most overrun by brides and -bridegrooms of all English districts, the Isle of -Wight, as being nearest within call of Southampton, -whence they had to start on their -long ocean voyage. The aunt in charge was -to send down Nora to meet them at the hotel -the day before the steamer sailed; and the -general and Mrs Ord were to see them off, and -say a long good-bye to them on the morning -of sailing.</p> - -<p>Harry Noel, too, who had been best-man at -the wedding, for some reason most fully known -to himself, professed a vast desire to ‘see the -last of poor Hawthorn,’ before he left for parts -unknown in the Caribbean; and with that intent, -duly presented himself at a Southampton hotel -on the day before their final departure. It was -not purely by accident, however, either on his -own part or on Marian Hawthorn’s, that when -they took a quiet walk that evening in some -fields behind the battery, he found himself a -little in front with Nora Dupuy, while the -newly married pair, as was only proper, brought -up the rear in a conjugal tête-à-tête.</p> - -<p>‘Miss Dupuy,’ Harry said suddenly, as they -reached an open space in the fields, with a clear -view uninterrupted before them, ‘there’s something -I wish to say to you before you leave -to-morrow for Trinidad—something a little premature, -perhaps, but under the circumstances—as -you’re leaving so soon—I can’t delay it. I’ve -seen very little of you, as yet, Miss Dupuy, and -you’ve seen very little of me, so I daresay I -owe you some apology for this strange precipitancy; -but—— Well, you’re going away at -once from England; and I may not see you -again for—for some months; and if I allow -you to go without having spoken to you, -why’——</p> - -<p>Nora’s heart throbbed violently. She didn’t -care very much for Harry Noel at first sight, -to be sure; but still, she had never till now had -a regular offer of marriage made to her; and -every woman’s heart beats naturally—I believe—when -she finds herself within measurable distance -of her first offer. Besides, Harry was the -heir to a baronetcy, and a great catch, as most -girls counted; and even if you don’t want to -marry a baronet, it’s something at least to be -able to say to yourself in future, ‘I refused an -offer to be Lady Noel.’ Mind you, as women -go, the heir to an old baronetcy and twelve thousand -a year is not to be despised, though you -may not care a single pin about his mere personal -attractions. A great many girls who would refuse, -the man upon his own merits, would willingly -say ‘Yes’ at once to the title and the income. -So Nora Dupuy, who was, after all, quite as -human as most other girls—if not rather more so—merely -held her breath hard and tried her -best to still the beating of her wayward heart, -as she answered back with childish innocence: -‘Well, Mr Noel; in that case, what would -happen?’</p> - -<p>‘In that case, Miss Dupuy,’ Harry replied, -looking at her pretty little pursed-up guileless -mouth with a hungry desire to kiss it incontinently -then and there—‘why, in that case, I’m -afraid some other man—some handsome young -Trinidad planter or other—might carry off the -prize on his own account before I had ventured -to put in my humble claim for it.—Miss Dupuy, -what’s the use of beating about the bush, when -I see by your eyes you know what I mean! -From the moment I first saw you, I said to -myself: “She’s the one woman I have ever seen -whom I feel instinctively I could worship for -a lifetime.” Answer me yes. I’m no speaker. -But I love you. Will you take me?’</p> - -<p>Nora twisted the tassel of her parasol nervously -between her finger and thumb for a few seconds; -then she looked back at him full in the face with -her pretty girlish open eyes, and answered with -charming naïveté—just as if he had merely asked -her whether she would take another cup of tea:—‘Thank -you, no, Mr Noel; I don’t think -so.’</p> - -<p>Harry Noel smiled with amusement—in spite -of this curt and simple rejection—at the oddity -of such a reply to such a question. ‘Of course,’ -he said, glancing down at her pretty little feet -to hide his confusion, ‘I didn’t expect you to -answer me <i>Yes</i> at once on so very short an -acquaintance as ours has been. I acknowledge -it’s dreadfully presumptuous in me to have -dared to put you a question like that, when I -know you can have seen so very little in me -to make me worth the honour you’d be bestowing -upon me.’</p> - -<p>‘Quite so,’ Nora murmured mischievously, in -a parenthetical undertone. It wasn’t kind; I -daresay it wasn’t even lady-like; but then you -see she was really, after all, only a school-girl.</p> - -<p>Harry paused, half abashed for a second at this -very literal acceptance of his conventional expression -of self-depreciation. He hardly knew whether -it was worth while continuing his suit in the -face of such exceedingly outspoken discouragement. -Still, he had something to say, and he -determined to say it. He was really very much -in love with Nora, and he wasn’t going to lose -his chance outright just for the sake of what -might be nothing more than a pretty girl’s provoking -coyness.</p> - -<p>‘Yes,’ he went on quietly, without seeming -to notice her little interruption, ‘though you -haven’t yet seen anything in me to care for, -I’m going to ask you, not whether you’ll give -me any definite promise—it was foolish of me -to expect one on so brief an acquaintance—but -whether you’ll kindly bear in mind that I’ve -told you I love you—yes, I said love you’—for -Nora had clashed her little hand aside impatiently -at the word. ‘And remember, I shall still hope, -until I see you again, you may yet in future<span class="pagenum" id="Page_53">{53}</span> -reconsider the question.—Don’t make me any -promise, Miss Dupuy; and don’t repeat the -answer you’ve already given me; but when you -go to Trinidad, and are admired and courted as -you needs must be, don’t wholly forget that some -one in England once told you he loved you—loved -you passionately.’</p> - -<p>‘I’m not likely to forget it, Mr Noel,’ Nora -answered with malicious calmness; ‘because nobody -ever proposed to me before, you know; -and one’s sure not to forget one’s first offer.’</p> - -<p>‘Miss Dupuy, you are making game of me! -It isn’t right of you—it isn’t generous.’</p> - -<p>Nora paused and looked at him again. He -was dark, but very handsome. He looked handsomer -still when he bridled up a little. It was -a very nice thing to look forward to being Lady -Noel. How all the other girls at school would -have just jumped at it! But no; he was too -dark by half to meet her fancy. She couldn’t -give him the slightest encouragement. ‘Mr Noel,’ -she said, far more seriously this time, with a little -sigh of impatience, ‘believe me, I didn’t really -mean to offend you. I—I like you very much; -and I’m sure I’m very much flattered indeed -by what you’ve just been kind enough to say to -me. I know it’s a great honour for you to ask -me to—to ask me what you have asked me. But—you -know, I don’t think of you in that light, -exactly. You will understand what I mean when -I say I can’t even leave the question open. I—I -have nothing to reconsider.’</p> - -<p>Harry waited a moment in internal reflection. -He liked her all the better because she said <i>no</i> -to him. He was man of the world enough to -know that ninety-nine girls out of a hundred -would have jumped at once at such an eligible -offer. ‘In a few months,’ he said quietly, in an -abstracted fashion, ‘I shall be paying a visit out -in Trinidad.’</p> - -<p>‘Oh, don’t, pray, don’t,’ Nora cried hastily. -‘It’ll be no use, Mr Noel, no use in any way. -I’ve quite made up my mind; and I never -change it. Don’t come out to Trinidad, I beg -of you.’</p> - -<p>‘I see,’ Harry said, smiling a little bitterly. -‘Some one else has been beforehand with me -already. No wonder. I’m not at all surprised -at him. How could he possibly see you and -help it?’ And he looked with unmistakable -admiration at Nora’s face, all the prettier now -for its deep blushes.</p> - -<p>‘No, Mr Noel,’ Nora answered simply. ‘There -you are mistaken. There’s nobody—absolutely -nobody. I’ve only just left school, you know, -and I’ve seen no one so far that I care for in -any way.’</p> - -<p>‘In that case,’ Harry Noel said, in his decided -manner, ‘the quest will still be worth pursuing. -No matter what you say, Miss Dupuy, we shall -meet again—before long—in Trinidad. A young -lady who has just left school has plenty of time -still to reconsider her determinations.’</p> - -<p>‘Mr Noel! Please, don’t! It’ll be quite -useless.’</p> - -<p>‘I must, Miss Dupuy; I can’t help myself. -You will draw me after you, even if I tried to -prevent it. I believe I have had one real passion -in my life, and that passion will act upon me -like a magnet on a needle for ever after. I shall -go to Trinidad.’</p> - -<p>‘At anyrate, then, you’ll remember that I -gave you no encouragement, and that for me, -at least, my answer is final.’</p> - -<p>‘I <i>will</i> remember, Miss Dupuy—and I won’t -believe it.’</p> - -<hr class="tb" /> - -<p>That evening, as Marian kissed Nora good-night -in her own bedroom at the Southampton hotel, -she asked archly: ‘Well, Nora, what did you -answer him?’</p> - -<p>‘Answer who? what?’ Nora repeated hastily, -trying to look as if she didn’t understand the -suppressed antecedent of the personal pronoun.</p> - -<p>‘My dear girl, it isn’t the least use your -pretending you don’t know what I mean by it. -I saw in your face, Nora, when Edward and -I caught you up, what it was Mr Noel had -been saying to you. And how did you answer -him? Tell me, Nora!’</p> - -<p>‘I told him <i>no</i>, Marian, quite positively.’</p> - -<p>‘O Nora!’</p> - -<p>‘Yes, I did. And he said he’d follow me out -to Trinidad; and I told him he really needn’t -take the trouble, because in any case I could -never care for him.’</p> - -<p>‘O dear, I <i>am</i> so sorry. You wicked girl! -And, Nora, he’s such a nice fellow too! and -so dreadfully in love with you! You ought to -have taken him.’</p> - -<p>‘My dear Marian! He’s so awfully black, -you know. I really believe he must positively -be—be <i>coloured</i>.’</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="OUR_DOMESTICATED_OTTER">OUR DOMESTICATED OTTER.</h2> -</div> - - -<p><span class="smcap">One</span> fine day in early autumn, while straying -along the banks of one of the sparkling little -trout streams which appear to be at once the -cause and the purpose of those lovely winding -valleys so numerous in Northern Devon, our -attention was drawn, by a faint distressed chirping -sound, to a small dark object stirring in the -grass at some distance from the stream. We -hurried to the spot, and there saw, to our great -surprise, wet, muddy, and uneasily squirming at -our feet, a baby otter! Poor infant! how came -it there? By what concatenation of untoward -circumstances did the helpless innocent find itself -in a position so foreign to the habits of its kind? -Its appearance under conditions so utterly at -variance with our experience of the customs and -manners of otter society, was so amazing, that -we could scarcely believe our eyes. However, -there the little creature undoubtedly was; and -congratulating ourselves on this unlooked-for and -valuable addition to our home menagerie—for -these animals are rare in Devon, and to light -upon a young scion of the race in evident -need of a home and education was quite a piece -of good luck—the forlorn bantling was promptly -deposited in a coat-pocket and proudly borne -homewards.</p> - -<p>Introduced to the family circle, ‘Tim’—as he -was afterwards duly christened—became at once -the centre of domestic interest and unceasing -care. To feed him was necessarily our first consideration. -A feline or canine mother deprived<span class="pagenum" id="Page_54">{54}</span> -of her young was suggested as a suitable foster-mother; -but, unfortunately, no such animal was -at hand, and meantime the creature must be -fed. We therefore procured an ordinary infant’s -feeding-bottle, and filling it with lukewarm cow’s -milk, essayed thus to make good the absence -of mamma-otter. At first the little stranger -absolutely declined even to consider this arrangement, -and in consequence pined somewhat; but -in the end the pangs of hunger wrought a change -in his feelings, and after several energetic though -unscientific attempts, he overcame the difficulties -of his new feeding apparatus, and was soon -vigorously sucking. For a time, all went well. -Tim, with commendable regularity, alternately -filled himself with milk and slept peacefully in -his basket of sweet hay. But at the close of the -second day, a change came over our interesting -charge; he was restless and uneasy during the -night, and in the morning, refused to feed, and -appeared to be suffering pain. Finally, his respiration -became laboured and difficult, and for a -whole day and night our hopes of rearing him -were at the lowest ebb. But at the end of that -time, to our great satisfaction, the distressing -symptoms began to abate, and in a few hours -had disappeared, and the convalescent returned -<i>con amore</i> to his bottle. Believing his attack -was attributable to over-feeding, we henceforth -diluted the cow’s milk with warm water, and -removed his bottle at the first sign of approaching -satiety, nor did we again administer it until -his demands for sustenance became vociferous and -imperative. On this system we were successful -in rearing him in the face of many prophecies -of failure.</p> - -<p>At this early stage of his existence, being -exhibited to admiring friends, he crawled laboriously -and flatly about on the carpet, with a -decided preference for backward motion; but -if he encountered a perpendicular surface, such -as the sides of his hamper or a trouser-leg, he -would, with the aid of his claws, climb up it -with considerable agility. He distinctly showed -a love of warmth, and gave us to understand -that he appreciated caresses, by nestling down -in feminine laps, and ceasing his plaintive cry -while our hands were about him. On awakening -from sleep, he would begin, as do ducklings and -chickens, with a gentle reminder of his existence -and requirements. If no notice were taken of -this, the note—which was something between -the magnified chirp of a chicken and the very -earliest bark of a puppy—would steadily increase -in power and insistence, until it became an -absolute clamour. When his bottle was given -to him, he would seize on the leather teat and -tug at it, and plunge about with a violence and -impatience which defeated its own end, and woe -to the unwary or awkward fingers which came -in the way of the tiny fine white teeth at this -moment!</p> - -<p>Obstacles overcome and success attained, Tim -settled down to steady sober enjoyment; the -webbed paws were alternately spread and closed -like a cat’s when thoroughly content, and the -tail curled and uncurled and wagged to and fro, -as does a lamb’s when happily feeding. After -the lapse of a few days, our new pet showed -decided signs of intelligence and a sense of fun: -he would run round after one’s finger in a -clumsy-lively way, and a jocular poke in the -ribs would rouse him to an awkwardly playful -attempt to seize the offending digit. In less -than three weeks he knew his name, and scuttled -across the room when called, followed us about -the garden, and endeavoured to establish friendly -relations with a pet wild rabbit, which was -furiously jealous of the new favourite, and -administered sly scratches, and ‘hustled’ him -on every possible occasion.</p> - -<p>About this time, he also acquired a charming -habit of beginning, the moment the sun rose, a -clamour which deprived half the household of -further sleep, and which was only to be quieted -by his being taken into some one’s bed, where he -would at once ‘snuggle’ down and lie motionless -for hours. At first we resisted this importunity -on the part of Tim, partly because an otter is not -exactly the animal one would select as a bedfellow, -and partly because we could not think -it a desirable or wholesome habit for the creature -itself. But Master Tim was too much for us. ‘If -you won’t let me sleep with you, you shan’t sleep -at all!’ he declared in unmistakable language, -and by dint of sticking to his point he carried -it.</p> - -<p>At the end of the first month of his civilised -life, some one gave him a scrap of raw meat; -and after that, though he ate bread and milk -very contentedly between times, he made us -understand that his constitution required the -support of animal food, and was never satisfied -without his daily ration of uncooked flesh. Fish, -strange to say, he seemed to prefer cooked. -When we were seated at meals, a hand held down -would bring Tim quickly to one’s side with an -eager look in the small yellow eyes; his cold -nose sniffed at one’s fingers with rapid closing -and unclosing of the curiously formed nostrils; -the softly furred head would be thrust into the -palm in search of the expected dainty morsel. -If none were to be found, his temper would be -sadly ruffled, sometimes to the extent of inflicting -with his teeth a sharp reminder that not even -an otter’s feelings should be trifled with!</p> - -<p>As he grew older, he developed an amount -of intelligence scarcely to be expected from the -small brain contained in the flat and somewhat -snake-like head; he showed decided preferences -for some members of the family over others; if -permitted, he would follow everywhere at our -heels like a dog, and played with the children -after the manner of one, but with awkward -springs and jumps that put us in mind of a -particularly ungraceful lamb. He occasionally -made quite energetic assaults on the ankles of -some of the ladies of the family; and if he perceived -that the owner of unprotected ankles went -in fear of him, showed a malicious pleasure in -renewing the attack at every favourable opportunity.</p> - -<p>When the children went for a country ramble, -Tim frequently accompanied them, taking the -greatest delight in these excursions. He would -be carried until beyond danger from wandering<span class="pagenum" id="Page_55">{55}</span> -dogs, and then being set at liberty, the fun would -begin. Master Tim, all eagerness, trotting on -before in search of interesting facts, the children -take advantage of a moment when all his -faculties are engaged with some novelty attractive -to the otter mind, to vanish through a neighbouring -gate or behind a haystack. The unusual -quiet soon arouses Tim’s suspicions; he looks -round, and finds himself alone. The situation, -from its strangeness, is appalling to him; he -utters a shriek of despair, and scurries back as -fast as his legs can take him, squeaking loudly all -the time. If he should chance, in his fright, to -pass by the hiding-place of his young protectors -without discovering them, great is their delight. -One little face after another peers out and -watches, with mischievous glee, poor Tim’s plump -and anxious form trundling along as fast as is -possible to it in the wrong direction! But very -soon the humour of the situation is too much -for some young spirit, and a smothered laugh -or a half-suppressed giggle reaches the tiny sharp -ears, and Tim quickly turns, and with another -shriek of mingled satisfaction and indignation, -gives chase to his playful tormentors. Once -arrived in the open meadows, where this novel -game of hide-and-seek is not possible, it is -Tim’s turn. Still, he follows obediently enough, -frisking and gamboling in the fresh soft grass, -until one of the innumerable small streams is -approached. As soon as he catches sight of the -water, he is off. At a rapid trot he hurries to -the brink, and with swift and noiseless dart, in -a flash he has disappeared in the current, and in -another reappeared some yards away. Rolling -over, turning, twisting, diving, he revels in his -cold bath, and it is sometimes a matter of no -small difficulty to get him out of the water. A -cordon of children is formed—the two biggest -with bare feet and legs, to cut off his retreat up -and down stream—which, gradually closing in -on him, seizes him at last; and reluctantly he is -compelled to dry himself in the grass preparatory -to returning to the forms and ceremonies of -civilised life.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="A_GOLDEN_ARGOSY">A GOLDEN ARGOSY.</h2> -</div> -<p class="ph3"><i>A NOVELETTE.</i></p> - - -<h3>CHAPTER VI.</h3> - -<p>‘<span class="smcap">How</span> do you feel now, Margaret?’</p> - -<p>‘Nearly over, Miss Nelly. I shall die with -the morning.’</p> - -<p>A week later, and the patient had got gradually -worse. The constant exposure, the hard -life, and the weeks of semi-starvation, had told -its tale on the weak womanly frame. The -exposure in the rain and cold on that eventful -night had hastened on the consumption which -had long settled in the delicate chest. All signs -of mental exhaustion had passed away, and the -calm hopeful waiting frame of mind had succeeded. -She was waiting for death; not with -any feeling of terror, but with hopefulness and -expectation.</p> - -<p>Up to the present, Eleanor had not the heart -to ask for any memento or remembrance of the -old life; but had nursed her patient with an -unceasing watchful care, which only a true -woman is capable of. All that day she had sat -beside the bed, never moving, but noting, as -hour after hour passed steadily away, the gradual -change from feverish restlessness to quiet content, -never speaking, or causing her patient to speak, -though she was longing for some word or -sign.</p> - -<p>‘You have been very good to me, Miss Nelly. -Had it not been for you, where should I have -been now!’</p> - -<p>‘Hush, Margaret; don’t speak like that. Remember, -everything is forgiven now. Where -there is great temptation, there is much forgiveness.’</p> - -<p>‘I hope so, miss—I hope so. Some day, we -shall all know.’</p> - -<p>‘Don’t try to talk too much.’</p> - -<p>For a while she lay back, her face, with its -bright hectic flush, marked out in painful contrast -to the white pillow. Eleanor watched her -with a look of infinite pity and tenderness. The -distant hum of busy Holborn came with dull -force into the room, and the heavy rain beat upon -the windows like a mournful dirge. The little -American clock on the mantel-shelf was the only -sound, save the dry painful cough, which ever -and anon proceeded from the dying woman’s lips. -The night sped on; the sullen roar of the distant -traffic grew less and less; the wind dropped, -and the girl’s hard breathing could be heard -painfully and distinctly. Presently, a change -came over her face—a kind of bright, almost -unearthly intelligence.</p> - -<p>‘Are you in any pain, Madge?’ Eleanor asked -with pitying air.</p> - -<p>‘How much lighter it is!’ said the dying girl. -‘My head is quite clear now, miss, and all the -pain has gone.—Miss Nelly, I have been dreaming -of the old home. Do you remember how we -used to sit by the old fountain under the weeping-ash, -and wonder what our fortunes would be? I -little thought it would come to this.—Tell me, -miss, are you in—in want?’</p> - -<p>‘Not exactly, Madge; but the struggle is hard -sometimes.’</p> - -<p>‘I thought so,’ the dying girl continued. ‘I -would have helped you after <i>she</i> came; but you -know the power she had over your poor uncle, -a power that increased daily. She used to -frighten me. I tremble now when I think of -her.’</p> - -<p>‘Don’t think of her,’ said Eleanor soothingly. -‘Try and rest a little, and not talk. It cannot be -good for you.’</p> - -<p>The sufferer smiled painfully, and a terrible -fit of coughing shook her frame. When she -recovered, she continued: ‘It is no use, Miss -Nelly: all the rest and all your kind nursing -cannot save me now. I used to wonder, when -you left Eastwood so suddenly, why you did not -take me; but now I know it is all for the best. -Until the very last, I stayed in the house.’</p> - -<p>‘And did not my uncle give you any message, -any letter for me?’ asked Eleanor, with an -eagerness she could not conceal.</p> - -<p>‘I am coming to that. The day he died, I was -in his room, for she was away, and he asked me -if I ever heard from you. I knew you had -written letters to him which he never got; and -so I told him. Then he gave me a paper for<span class="pagenum" id="Page_56">{56}</span> -you, which he made me swear to deliver to you -by my own hand; and I promised to find you. -You know how I found you,’ she continued -brokenly, burying her face in her hands.</p> - -<p>‘Don’t think of that now, Margaret,’ said -Eleanor, taking one wasted hand in her own. -‘That is past and forgiven.’</p> - -<p>‘I hope so, miss. Please, bring me that dress, -and I will discharge my trust before it is too -late. Take a pair of scissors and unpick the -seams inside the bosom on the left side.’</p> - -<p>The speaker watched Eleanor with feverish -impatience, whilst, with trembling fingers, she -followed the instructions. Not until she had -drawn out a flat parcel, wrapped securely in oiled -paper, did the look of impatience transform to an -air of relief.</p> - -<p>‘Yes, that is it,’ said Margaret, as Eleanor tore -off the covering. ‘I have seen the letter, and -have a strange feeling that it contains some secret, -it is so vague and rambling, and those dotted -lines across it are so strange. Your uncle was -so terribly in earnest, that I cannot but think -the paper has some hidden meaning. Please, -read it to me. Perhaps I can make something -of it.’</p> - -<p>‘It certainly does appear strange,’ observed -Eleanor, with suppressed excitement.</p> - -<p>Turning towards the light, Eleanor read as -follows:</p> - -<div class="figcenter illowp74" id="i_056" style="max-width: 37.5em;"> - <img class="w100" src="images/i_056.jpg" alt="" /> - <div class="caption"><p><i>Darling, we must now be friends. Remember, Nelly, in -the garden you promised to obey my wishes. Under the -care of Miss Wakefield I hoped you would improve -but now I see it was not to be, and as prudence -teaches us that all is for the best I must be -content. Ask Edgar to forgive me the wrong I -have done you both in the past, and this I feel -his generous heart will not withhold from me. -Now that it is too late I see how blind I have -been, and could I live my life over again how -different things would be. Times are changed, yet -the memory of past days lingers within me, and like -Niobe, I mourn you. When I am gone you will -find my blessing a gift that is better than money.</i></p></div> -</div> - -<p>The paper was half a sheet of ordinary foolscap, -and the words were written without a single -break or margin. It was divided perpendicularly -by five dotted lines, and by four lines -horizontally, and displayed nothing to the casual -eye but an ordinary letter in a feeble handwriting.</p> - -<p>The tiny threads of fate had begun to gather. -All yet was dark and misty; but in the gloom, -faint and transient, was one small ray of light.</p> - -<p>Eleanor gazed at the paper abstractedly for a -few moments, vaguely trying to find some hidden -clue to the mystery.</p> - -<p>‘You must take care of that paper, Miss Nelly. -Something tells me it contains a secret.’</p> - -<p>‘And have you been searching for me two long -years, for the sole purpose of giving me this?’ -Eleanor asked.</p> - -<p>‘Yes, miss,’ the sufferer replied simply. ‘I promised, -you know. Indeed, I could not look at -your uncle and break a vow like mine.’</p> - -<p>‘And you came to London on purpose?’</p> - -<p>‘Yes. No one knew where I was gone. I -have no friends that I remember, and so I came -to London. It is an old tale, miss. Trying day -by day to get employment, and as regularly failing. -I have tried many things the last two bitter -years. I have existed—I cannot call it living—in -the vilest parts of London, and tried to keep -myself by my needle; but that only means dying -by inches. God alone knows the struggle it is for -a friendless woman here to keep honest and virtuous. -The temptation is awful; and as I have -been so sorely tried, I hope it will count in my -favour hereafter. I have seen sights that the -wealthy world knows nothing of. I have lived<span class="pagenum" id="Page_57">{57}</span> -where a well-dressed man or woman dare not set -foot. Oh, the wealth and the misery of this place -they call London!’</p> - -<p>‘And you have suffered like this for me?’ -Eleanor said, the tears now streaming down -her face. ‘You have gone through all this -simply for my sake? Do you know, Madge, -what a thoroughly good woman you really -are?’</p> - -<p>‘<i>I</i>, miss?’ the dying girl exclaimed in surprise. -‘How can I possibly be that, when you know -what you do of me! O no; I am a miserable -sinner by the side of you. Do you think, Miss -Nelly, I shall be forgiven?’</p> - -<p>‘I do not doubt it,’ said Eleanor softly; ‘I -cannot doubt it. How many in your situation -could have withstood your temptation?’</p> - -<p>‘I am so glad you think so, miss; it is comfort -to me to hear you say that. You were -always so good to me,’ she continued gratefully. -‘Do you know, Miss Nelly dear, whenever I -thought of death, I always pictured you as being -by my side?’</p> - -<p>‘Do you feel any pain or restlessness now, -Margaret?’</p> - -<p>‘No, miss; thank you. I feel quite peaceful -and contented. I have done my task, though it -has been a hard one at times. I don’t think -I could have rested in my grave if I had not -seen you.—Lift me up a little higher, please, and -come a little closer. I can scarcely see you now. -My eyes are quite misty. I wonder if all dying -people think about their younger days, Miss -Nelly? <i>I</i> do. I can see it all distinctly: the -old broken fountain under the tree, where we -used to sit and talk about the days to come; -and how happy we all were there before she -came. Your uncle was a different man then, -when he sat with us and listened to your singing -hymns. Sing me one of the old hymns -now, please.’</p> - -<p>In a subdued key, Eleanor sang <i>Abide with me</i>, -the listener moving her pallid lips to the words. -Presently, the singer finished, and the dying girl -lay quiet for a moment.</p> - -<p>‘Abide with me. How sweet it sounds! -“Swift to its close ebbs out life’s little day.” -I am glad you chose my favourite hymn, Miss -Nelly. I shall die repeating these words: “The -darkness deepens; Lord, with me abide.” Now -it is darker still; but I can feel your hand in -mine, and I am safe. I did not think death was -so blessed and peaceful as this. I am going, going—floating -away.’</p> - -<p>‘Margaret, speak to me!’</p> - -<p>‘Just one word more. How light it is getting! -Is it morning? I can see. I think I am forgiven. -I feel better, better! quite forgiven. Light, light, -light! everywhere. I can see at last.’</p> - -<p>It was all over. The weary aching heart was -at rest. Only a woman, done to death in the -flower of youth by starvation and exposure; but -not before her task was done, her work accomplished. -No lofty ambition to stir her pulses, -no great goal to point to for its end. Only a -woman, who had given her life to carry out a -dying trust; only a woman, who had preserved -virtue and honesty amid the direst temptation. -What an epitaph for a gravestone! A eulogy -that needs no glittering marble to point the way -up to the Great White Throne.</p> - - -<h3>CHAPTER VII.</h3> - -<p>Mr Carver sat in his private office a few days -later, with Margaret’s legacy before him. A -hundred times he had turned the paper over. -He had held it to the light; he had looked at -it upside down, and he had looked at it sideways -and longways; in fact, every way that his -ingenuity could devise. He had even held it to -the fire, in faint hopes of sympathetic ink; but -his labour had met with no reward. The secret -was not discovered.</p> - -<p>The astute legal gentleman consulted his diary, -where he had carefully noted down all the facts -of the extraordinary case; and the more he studied -the matter, the more convinced he became that -there was a mystery concealed somewhere; and, -moreover, that the key was in his hands, only, -unfortunately, the key was a complicated one. -Indeed, to such absurd lengths had he gone in -the matter, that Edgar Allan Poe’s romances of -<i>The Gold Bug</i> and <i>The Purloined Letter</i> lay before -him, and his study of those ingenious narratives -had permeated his brain to such an extent lately, -that he had begun to discover mystery in everything. -The tales of the American genius convinced -him that the solution was a simple one—provokingly -simple, only, like all simple things, -the hardest of attainment. He was quite aware -of the methodical habits of his late client, Mr -Morton, and felt that such a man could not -have written such a letter, even on his dying -bed, unless he had a powerful motive in so -doing. Despite the uneasy consciousness that -the affair was a ludicrous one to engage the -attention of a sober business man like himself, -he could not shake off the fascination which held -him.</p> - -<p>‘Pretty sort of thing this for a man at my -time of life to get mixed up in,’ he muttered to -himself. ‘What would the profession say if they -knew Richard Carver had taken to read detective -romances in business hours? I shall find myself -writing poetry some day, if I don’t take care, -and coming to the office in a billy-cock hat and -turn-down collar. I feel like the heavy father -in the transpontine drama; but when I look in -that girl’s eyes, I feel fit for any lunacy. Pshaw!—Bates!’</p> - -<p>Mr Bates entered the apartment at his superior’s -bidding. ‘Well, sir?’ he said. The estimable -Bates was a man of few words.</p> - -<p>‘I can <i>not</i> make this thing out,’ exclaimed -Mr Carver, rubbing his head in irritating perplexity. -‘The more I look at it the worse it -seems. Yet I am convinced’——</p> - -<p>‘That there is some mystery about it!’</p> - -<p>‘Precisely what I was going to remark. Now, -Bates, we must—we really must—unravel this -complication. I feel convinced that there is -something hidden here. You must lend me your -aid in the matter. There is a lot at stake. For -instance, if’——</p> - -<p>‘We get it out properly, I get my partnership; -if not, I shall have to—whistle for it, sir!’</p> - -<p>‘You are a very wonderful fellow, Bates—very. -That is precisely what I was going to say,’ Mr -Carver exclaimed admiringly. ‘Now, I have -been reading a book—a standard work, I may -say.’</p> - -<p><span class="pagenum" id="Page_58">{58}</span></p> - -<p>‘Williams’s Executors, sir, or——?’</p> - -<p>‘No,’ said Mr Carver shortly, and not without -some confusion; ‘it is not that admirable volume—it -is, in fact, a—a romance.’</p> - -<p>Mr Bates coughed dryly, but respectfully, -behind his hand. ‘I beg your pardon, sir; I -don’t quite understand. Do you mean you have -been reading a—novel?’</p> - -<p>‘Well, not exactly,’ replied Mr Carver blushing -faintly. ‘It is, as I have said, a romance—a -romance,’ he continued with an emphasis upon -the substantive, to mark the difference between -that and an ordinary work of fiction. ‘It is a -book treating upon hidden things, and explaining, -in a light and pleasant way, the method of logically -working out a problem by common-sense. -Now, for instance, in the passage I have marked, -an allusion is made, by way of example.—Did -you ever—ha, ha! play at marbles, Bates?’</p> - -<p>‘Well, sir, many years ago, I might have -indulged in that little amusement,’ Mr Bates -admitted with professional caution; ‘but really, -sir, it is such a long time ago, that I hardly -remember.’</p> - -<p>‘Very good, Bates. Now, in the course of -your experience upon the subject of marbles, do -you ever remember playing a game called “Odd -and Even?”’</p> - -<p>Bates looked at his principal in utter amazement, -and Mr Carver, catching the expression of -his face, burst into a hearty laugh, faintly echoed -by the bewildered clerk. The notion of two -gray-headed men solemnly discussing a game of -marbles in business hours, suddenly struck him -as being particularly ludicrous.</p> - -<p>‘Well, sir,’ Bates said with a look of relief, -‘I don’t remember the fascinating amusement -you speak of, and I was wondering what it -could possibly have to do with the case in -point.’</p> - -<p>‘Well, I won’t go into it now; but if you -should like to read it for yourself, there it is,’ -said Mr Carver, pushing over the yellow-bound -volume to his subordinate.</p> - -<p>Mr Bates eyed the volume suspiciously, and -touched it gingerly with his forefinger. ‘As a -matter of professional duty, sir, if you desire -it, I will read the matter you refer to; but if -it is a question of recreation, then, sir, with your -permission, I would rather not.’</p> - -<p>‘That is a hint for me, I suppose, Bates,’ said -Mr Carver with much good-humour, ‘not to -occupy my time with frivolous literature.’</p> - -<p>‘Well, sir, I do not consider these the sort -of books for a place on a solicitor’s table; but -I suppose you know best.’</p> - -<p>‘I don’t think such a thing has happened -before, Bates,’ Mr Carver answered with humility. -‘You see, this is an exceptional case, and I take -great interest in the parties.’</p> - -<p>‘Well, there is something in that,’ said Mr -Bates severely, ‘so I suppose we must admit it -on this occasion.—But don’t you think, sir, there -is some way of getting to the bottom of this -affair, without wasting valuable time on such -stuff as that?’ and he pointed contemptuously -at the book before him.</p> - -<p>‘Perhaps so, Bates—perhaps so. I think the -best thing we can do is to consult an expert. -Not a man who is versed in writings, but one -of those clever gentlemen who make a study -of ciphers. For all we know, there may be a -common form of cipher in this paper.’</p> - -<p>‘That is my opinion, sir. Depend upon it, -marbles have nothing to do with this mystery.’</p> - -<p>‘Mr Seaton wishes to see you, sir,’ said a clerk -at this moment.</p> - -<p>‘Indeed! Ask him to come in.—Good-morning, -my dear sir,’ as Seaton entered. ‘We have -just been discussing your little affair, Bates and -I; but we can make nothing of it—positively -nothing.’</p> - -<p>‘No; I suppose not,’ Edgar replied lightly. ‘I, -for my part, cannot understand your making so -much of a common scrap of paper. Depend upon -it, the precious document is only an ordinary -valedictory letter after all. Take my advice—throw -it in the fire, and think no more about -it.’</p> - -<p>‘Certainly not, sir,’ Mr Carver replied indignantly. -‘I don’t for one moment believe it to -be anything but an important cipher.—What are -you smiling at?’</p> - -<p>Edgar had caught sight of the yellow volume -on the table, and could not repress a smile. -‘Have you read those tales?’ he said.</p> - -<p>‘Yes, I have; and they are particularly interesting.’</p> - -<p>‘Then I won’t say any more,’ Edgar replied. -‘When a man is fresh from these romances, he -is incapable of regarding ordinary life for a time. -But the disease cures itself. In the course of -a month or so, you will begin to forget these -complications, and probably burn that fatal -paper.’</p> - -<p>‘I intend to do nothing of the sort; I am -going to submit it to an expert this afternoon, -and get his opinion.’</p> - -<p>‘Yes. And he will keep it for a fortnight, -after reading it over once, and then you will -get an elaborate report, covering some sheets of -paper, stating that it is an ordinary letter. Who -was the enemy who lent you Poe’s works?’</p> - -<p>‘I read those books before you were born, -young man; and I may tell you—apart from -them—that I am fully convinced that there is -a mystery somewhere. ’Pon my word, you take -the matter very coolly, considering all things. -But let us put aside the mystery for a time, -and tell me something of yourself.’</p> - -<p>‘I am looking up now, thanks to you and -Felix,’ Edgar replied gratefully. ‘I have an -appointment at last.’</p> - -<p>‘I am sure I am heartily glad to hear it. -What is it?’</p> - -<p>‘It was the doing of Felix, of course. The -editor of <i>Mayfair</i> was rather taken by my -descriptive style in a paper which Felix showed -him, and made me an offer of doing the principal -continental gambling-houses in London.’</p> - -<p>‘Um,’ said Mr Carver doubtfully. ‘And the -pay?’</p> - -<p>‘Is particularly good, besides which, I have -the entrée of these places—the golden key, you -know.’</p> - -<p>‘Have you told your wife about it?’</p> - -<p>‘Well, not altogether; she might imagine it -was dangerous for me. She knows partly what -I am doing; but I must not frighten her. I -have had two nights of it, and apart from the -excitement and the heat, it is certainly not -dangerous.’</p> - -<p><span class="pagenum" id="Page_59">{59}</span></p> - -<p>‘I am glad of that,’ said Mr Carver; ‘and -am heartily pleased to hear of your success—providing -it lasts.’</p> - -<p>‘Oh, it is sure to last, for I have hundreds -of places to go to. To-night I am going to a -foreign place in Leicester Square. I go about -midnight, and think I may generally be able to -get home about two. I have to go alone -always.’</p> - -<p>‘Well, I hope now you have started, you -will continue as well,’ Mr Carver said heartily; -‘at anyrate, you can continue until I unravel -the mystery, and place you in possession of your -fortune. Until then, it will do very well.’</p> - -<p>‘I am not going to count on that,’ Edgar -replied; ‘and if it is a failure, I shall not be -so disappointed as you, I fancy.’</p> - - -<h3>CHAPTER VIII.</h3> - -<p>It wanted a few minutes to eleven o’clock, -the same night when Seaton turned into Long -Acre on his peculiar business. A sharp walk -soon brought him to the Alhambra, whence -the people were pouring out into the square. -Turning down —— Street, he soon reached his -destination—a long narrow house, in total darkness—a -sombre contrast to the neighbouring -buildings, which were mostly a blaze of light, -and busy with the occupations of life. A quiet -double rap for some time produced no impression; -and just as he had stood upon the doorstep -long enough to acquire considerable impatience, -a sliding panel in the door was pushed -back, and a face, in the dim gas-light, was -obtruded. A short but somewhat enigmatical -conversation ensued, at the end of which the -door was grudgingly opened, and Edgar found -himself in black darkness. The truculent attendant -having barricaded the exit, gave a -peculiar whistle, and immediately the light -in the hall was turned up. It was a perfectly -bare place; but the carpet underfoot was -of the heaviest texture, and apparently—as an -extra precaution—had been covered with india-rubber -matting, so that the footsteps were perfectly -deadened; indeed, not the slightest footfall -could be heard. Following his guide in the -direction of the rear of the house, and ascending -a short flight of steps, Edgar was thrust -unceremoniously into a dark room, the door -of which was immediately closed behind him -and locked. For a few seconds, Edgar stood -quite at a loss to understand his position, till -the peculiar whistle was again repeated, and -immediately, as if by magic, the room was brilliantly -lighted. When Edgar recovered from -the glare, he looked curiously around. It was -a large room, without windows, save a long -skylight, and furnished with an evident aim at -culture; but though the furniture was handsome, -it was too gaudy to please a tasteful eye. -The principal component parts consisted of glass -gilt and crimson velvet; quite the sort of apartment -that the boy-hero discovers, when he is -led with dauntless mien and defiant eye into the -presence of the Pirate king; and indeed some -of the faces of the men seated around the green -board would have done perfectly well for that -bloodthirsty favourite of our juvenile fiction.</p> - -<p>There were some thirty men in the room, two-thirds -of them playing rouge-et-noir; nor did -they cease their rapt attention to the game for -one moment to survey the new-comer, that office -being perfectly filled by the Argus-eyed proprietor, -who was moving unceasingly about the -room. ‘Will you play, sare?’ he said insinuatingly -to Edgar, who was leisurely surveying -the group and making little mental notes for his -guidance.</p> - -<p>‘Thanks! Presently, when I have finished my -cigar,’ he replied.</p> - -<p>‘Ver good, sare, ver good. Will not m’sieu -take some refreshment—a leetle champein or -eau-de-vie?’</p> - -<p>‘Anything,’ Edgar replied carelessly, as the -polite proprietor proceeded to get the desired -refreshment.</p> - -<p>For a few minutes, Edgar sat watching his -incongruous companions, as he drank sparingly -of the champagne before him. The gathering was -of the usual run of such places, mostly foreigners, -as befitted the neighbourhood, and not particularly -desirable foreigners at that. On the green -table the stakes were apparently small, for Edgar -could see nothing but silver, with here and there -a piece of gold. At a smaller table four men -were playing the game called poker for small -stakes; but what particularly interested Edgar -was a young man deep in the fascination of écarté -with a man who to him was evidently a stranger. -The younger man—quite a boy, in fact—was -losing heavily, and the money on the table here -was gold alone, with some bank-notes. Directly -Edgar saw the older man, who was winning -steadily, he knew him at once; only two nights -before he had seen him in a gambling-house at -the West End playing the same game, with the -same result. Standing behind the winner was -a sinister-looking scoundrel, backing the winner’s -luck with the unfortunate youngster, and occasionally -winning a half-crown from a tall raw-looking -American, who was apparently simple -enough to risk his money on the loser. Attracted -by some impulse he could not understand, Edgar -quitted his seat and took his stand alongside -the stranger, who was losing his money with -such simple good-nature.</p> - -<p>‘Stranger, you have all the luck, and that’s -a fact. There goes another piece of my family -plate. Your business is better’n gold-mining, -and I want you to believe it,’ drawled the -American, passing another half-crown across the -table.</p> - -<p>‘You are a bit unlucky,’ replied the stranger, -with a flash of his white teeth; ‘but your turn -will come, particularly as the young gentleman -is really the better player. I should back him -myself, only I believe in a man’s luck.’</p> - -<p>‘Wall, now, I shouldn’t wonder if the younker -is the best player,’ the American replied, with -an emphasis on the last word. ‘So I fancy I -shall give him another trial. He’s a bit like a -young hoss, he is—but he’s honest.’</p> - -<p>‘You don’t mean to insinuate we’re not on -the square, eh?’ said the lucky player sullenly; -‘because, if that is so’——</p> - -<p>‘Now, don’t you get riled, don’t,’ said the -American soothingly. ‘I’m a peaceable individual, -and apt to get easily frightened. I’m a-goin’ -to back the young un again.’</p> - -<p>The game proceeded: the younger man lost.<span class="pagenum" id="Page_60">{60}</span> -Another game followed, the American backing -him again, and gradually, in his excitement, -bending further and further over the table. The -players, deep in his movements, scarcely noticed -him.</p> - -<p>‘My game!’ said the elder man triumphantly. -‘Did you ever see such luck in your life? Here -is the king again.’</p> - -<p>The American, quick as thought, picked up the -pack of cards and turned them leisurely over -in his hand. ‘Wall, now, stranger,’ he said, -with great distinctness, ‘I don’t know much about -cards, and that’s a fact. I’ve seen some strange -things in my time, but I never—no, never—seed a -pack of cards before with two kings of the same suit.’</p> - -<p>‘It must be a mistake,’ exclaimed the stranger, -jumping to his feet with an oath. ‘Perhaps the -cards have got mixed.’</p> - -<p>‘Wall, it’s not a nice mistake, I reckon. Out -to Frisco, I seed a gentleman of your persuasion -dance at his own funeral for a mistake like that. -He didn’t dance long, and the exertion killed -him; at least that’s what the crowner’s jury said.’</p> - -<p>‘Do you mean to insinuate that I’m a -swindler, sir? Do you mean to infer that I -cheated this gentleman?’ blustered the detected -sharper, approaching the speaker with a menacing -air.</p> - -<p>‘That <i>is</i> about the longitude of it,’ replied the -American cheerfully.</p> - -<p>Without another word and without the slightest -warning, the swindler rushed at the American; -but he had evidently reckoned without his host, -for he was met by a crashing blow full in the -face, which sent him reeling across the room. -His colleague deeming discretion the better part -of valour, and warned by a menacing glance from -Edgar, desisted from his evident intention of -aiding in the attack.</p> - -<p>By this time the sinister proprietor and the -players from the other tables had gathered -round, evidently, from the expression of their -eyes, ripe for any sort of mischief and plunder. -Clearly, the little group were in a desperate -strait.</p> - -<p>‘Have it out,’ whispered Edgar eagerly to his -gaunt companion. ‘I’m quite with you. They -certainly mean mischief.’</p> - -<p>‘All right, Britisher,’ replied the American -coolly. ‘I’ll pull through it somehow. Keep -your back to mine.’</p> - -<p>The proprietor was the first to speak. ‘I -understand, sare, you accuse one of my customer -of the cheat. Cheat yourself—pah!’ he said, -snapping his fingers in the American’s face. -‘Who are you, sare, that comes here to accuse -of the cheat?’</p> - -<p>‘Look here,’ said the American grimly. ‘My -name is Æneas B. Slimm, generally known as -Long Ben. I don’t easily rile, you grinning -little monkey; but when I do rile, I rile hard, -and that’s a fact. I ain’t been in the mines for -ten years without knowing a scoundrel when I -meet him, and I never had the privilege of -seein’ such a fine sample as I see around me to-night. -Now you open that door right away; -you hear me say it.’</p> - -<p>The Frenchman clenched his teeth determinedly, -but did not speak, and the crowd -gathered more closely around the trio.</p> - -<p>‘Stand back!’ shouted Mr Slimm—‘stand back, -or some of ye will suffer. Will you open that -door?’</p> - -<p>The only answer was a rush by some one -in the crowd, a movement which that some one -bitterly repented, for the iron-clamped toe of the -American’s boot struck him prone to the floor, sick -and faint with the pain. At this moment the -peculiar whistle was heard, and the room was -instantly in darkness. Before the crowd could -collect themselves for a rush, Mr Slimm passed -his hand beneath his long coat-tails and produced -a flat lantern, which was fastened round his waist -like a policeman’s, and which gave sufficient light -to guard against any attack; certainly enough -light to show the hungry swindlers the cold -gleam of a revolver barrel covering the assembly. -The American passed a second weapon to Edgar, -and stood calmly waiting for the next move.</p> - -<p>‘Now,’ he said, sullenly and distinctly, ‘I think -we are quits. We air going to leave this pleasant -company right away, but first we propose to do -justice. Where is the artist who plays cards with -two kings of one suit? He’d better come forward, -because this weapon has a bad way of going off. -He need not fancy I can’t see him, because I can. -He is skulking behind the brigand with the earrings.’</p> - -<p>The detected swindler came forward sullenly.</p> - -<p>‘Young man,’ said Mr Slimm, turning towards -the boy who had been losing so heavily, ‘how -much have you lost?’</p> - -<p>The youngster thought a moment, and said -about twenty pounds.</p> - -<p>‘Twenty pounds. Very good.—Now, my friend, -I’m going to trouble you for the loan of twenty -pounds. I don’t expect to be in a position to pay -you back just at present; but until I do, you can -console yourself by remembering that virtue is its -own reward. Come, no sulking; shell out that -money, or’——</p> - -<p>With great reluctance, the sharper produced -the money and handed it over to the youth. -The American watched the transaction with -grave satisfaction, and then turned to the landlord. -‘Mr Frenchman, we wish you a very -good-night. We have not been very profitable -customers, nor have we trespassed upon your -hospitality. If you want payment badly, you -can get it out of the thief who won my half-crowns.—Good-night, -gentlemen; we may meet -again. If we do, and I am on the jury, I’ll -give you the benefit of the doubt.’</p> - -<p>A moment later, they were in the street, and -walking away at a brisk pace, the ungrateful -youth disappearing with all speed.</p> - -<p>‘I am much obliged to you,’ Edgar said admiringly; -‘I would give something to have your pluck -and coolness.’</p> - -<p>‘Practice,’ replied the American dryly. ‘That -isn’t what I call a scrape—that’s only a little -amusement. But I was rather glad you were -with me. I like the look of your face; there’s -plenty of character there. As to that pesky young -snip, if I’d known he was going to slip off like -that, do you think I should have bothered about -his money for him? No, sir.’</p> - -<p><span class="pagenum" id="Page_61">{61}</span></p> - -<p>‘I fancy he was too frightened to say or do -much.’</p> - -<p>‘Perhaps so.—Have a cigar?—I daresay he’s -some worn-out roué of eighteen, all his nerves -destroyed by late hours and dissipation, at a time -when he ought to be still at his books.’</p> - -<p>‘Do you always get over a thing as calmly as -this affair?’ asked Edgar, at the same time manipulating -one of his companion’s huge cigars. ‘I -don’t think dissipation has had much effect on -<i>your</i> nerves.’</p> - -<p>‘Well, it don’t, and that’s a fact,’ Mr Slimm -admitted candidly; ‘and I’ve had my fling too.—I -tell you what it is, Mr—Mr’——</p> - -<p>‘Seaton—Edgar Seaton is my name.’</p> - -<p>‘Well, Mr Seaton, I’ve looked death in the -face too often to be put out by a little thing like -that. When a man has slept, as I have, in the -mines with a matter of one thousand ounces of -gold in his tent for six weeks, among the most -awful blackguards in the world, and plucky blackguards -too, his nerves are fit for most anything -afterwards. That’s what I done, ay, and had -to fight for it more than once.’</p> - -<p>‘But that does not seem so bad as some -dangers.’</p> - -<p>‘Isn’t it?’ replied the American with a shudder. -‘When you wake up and find yourself in bed -with a rattlesnake, you’ve got a chance then; -when you are on the ground with a panther over -you, there is just a squeak then; but to go to -sleep expecting to wake up with a knife in your -ribs, is quite another apple.—Well, I must say -good-night. Here is Covent Garden. I am staying -at the <i>Bedford</i>. Come and breakfast with -me to-morrow, and don’t forget to ask for Æneas -Slimm.’</p> - -<p>‘I will come,’ said Edgar, with a hearty handshake.—‘Good-night.’</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="SNOW-BLOSSOM">SNOW-BLOSSOM.</h2> -</div> - - -<p><span class="smcap">Under</span> the above title, Professor Wittrock, in -<i>Nordenskjöld’s Studies and Researches in the Far -North</i>, has given us a wonderful and exhaustive -account of the lowest order of plants—those -which have their existence on the surface of -the snow and ice, and colour the monotonous -white or dirty gray of the everlasting snowfields -with the warmest and most lovely rosy red and -crimson, vivid green, and soft brown, until it -almost appears as if these frigid zones have also -their time of spring and blossom.</p> - -<p>Late researches go to show that the snow and -ice flora is far greater and richer than was at -one time supposed. Formerly, people had only -heard of ‘red snow’—which Agardh poetically -calls ‘snow-blossoms’—and ‘green snow,’ first -discovered by the botanist Unger—specimens of -which were brought from Spitzbergen by Dr -Kjellmann, and from Greenland by Dr Berlin. -But a closer examination has discovered in the -‘green snow’ about a dozen different kinds of -plants, and these not merely comprising the -<i>lowest</i> order, but also including some mosses. -The latter, however, were only in their germinating -state, looking like the green threads of -algæ, and therefore showing a much inferior -degree of development to that which they would -have if growing on a warmer substratum. The -flora of the loose snow, too, is generally far richer -than that of the solid ice; already forty different -varieties of plants having been found, which -number will no doubt be greatly increased by -every fresh expedition to the arctic zone. On -the solid ice, only ten different kinds have been -observed.</p> - -<p>There is a great difference between the real -ice and snow plants which grow exclusively -on the snow-line and those hardened children -of the sun which only grow on the snow. -The latter all belong to the one-celled microscopic -algæ of the lowest order, which increase -by partition, possessing no generic character, and -generally appearing in large horizontal masses of -vegetable matter. They are also distinguished -by seldom having the pure green chlorophyll -colour of other plants, but instead display shades -of red, brown, and sap green, whence they have -been named coloured algæ.</p> - -<p>Some botanists suppose that the chief and -most numerous of all the algæ, the red snow, -only represents a lower state of a higher class -of algæ which has never attained to full development -in the region of perpetual snow; and this -supposition is the more remarkable, as the brilliant -red granules of this species—about the -four-thousandth part of an inch in diameter—probably -surpass in reproductive powers every -other plant. They cover enormous tracts of snow -in such dense masses that it sometimes appears -as if the snow was coloured blood-red to the depth -of several feet. Ever since it was first found, -red snow has greatly exercised the minds of the -learned. It is often mentioned in old writings, -though whether the red snow referred to took -its colour from the red algæ or from the meteor-dust -which contains iron, is not certain. But -there is no doubt that it was the real red-snow -algæ which De Saussure found in his Alpine expeditions. -He mentions this phenomenon several -times in 1760, and states that he had found the -most beautiful species on Mont St Bernard, but -had thought it must be pollen, wafted thither -by the wind, although he knew of no plant that -had that kind of red pollen.</p> - -<p>The knowledge that the red snow of the polar -regions and mountains owes its colour to a living -plant, only dates from the year 1818, when Ross -and Parry made their celebrated polar expedition, -and Ross discovered the ‘crimson cliffs’ of the -coast of Greenland, six hundred feet above the -level of the sea. Here the red snow coloured -the rocky walls of Baffin’s Bay a rich glowing -crimson, reaching in some parts to a depth of nine -or ten feet, and close to Cape York extending -over a distance of eight nautical miles. Various -were the surmises and conjectures as to the origin -and nature of the phenomenon. Bauer was the -first to examine it under a microscope, and he -fancied the organic red granules represented a -species of fungus. The same year, Charpentier, -the great Alpine explorer, started the idea that -the red appearance was caused by some meteoric -matter, which, falling from the sky, spread over -the immense tracts of snow. Hooker was the -first who recognised the true nature of this new -plant, and compared it to the red slime algæ -which are found floating in blood-red masses in -water or damp places; while Wrangel declared -the granules had apparently no organic substratum, -and they must therefore be of the lichen<span class="pagenum" id="Page_62">{62}</span> -tribe, suggesting also that the germs were generated -by the electricity in the air, for he had -once seen a rock split in two by lightning, the -sides of which were thickly covered with a red -dust similar in nature to the ‘red snow.’ Two -more botanists agreed that the red granules were -‘red powder that had become organic matter in -the oxidised snow;’ the stern hard rock as it -decayed had defied death, and come to life again -in a new form. It remained for Agardh to put -an end to these various fancies by proving the -undoubted algal nature of the plant, and to give -it, besides, its poetical name of ‘snow-blossom,’ -the scientific one of crimson primitive snow-germ -(<i>Protococcus Kermesina nivalis</i>). In 1838, -Ehrenberg watched the development of this new -species by sowing some specimens he had brought -with him from the Swiss Alps, on snow, and -noting how they developed first into green and -then into red granules, joined together like a -chain; he called it snow granulæ (<i>Sphærella -nivalis</i>), which name it still bears.</p> - -<p>Even now, the wild theories about the red -snow were not yet ended. Seeing that the young -spores of the algæ moved incessantly backwards -and forwards in the water, the idea arose that -they were animalcula, and ‘red snow’ only the -lowest form of animal life. By degrees, however, -it came to be an accepted fact that this voluntary -motion does not belong exclusively to animal -life, and that the young spores of the lower -plants, although they move freely about in the -water, and are plentifully provided with fine -hair-like threads like the real infusoria, still -remain plants, and never turn into animals. -And thus the plant-nature of the ‘snow-blossom’ -was finally settled.</p> - -<p>The red-snow alga found on the Alps, Pyrenees, -and Carpathians, and also on the summits of the -North American mountains as far down as California, -is not, however, such a determined enemy -to heat as its having its home in the ice-region -would imply. In the arctic circle, as well as -on our own mountains of perpetual snow, especially -on Monte Rosa, the red snow is seen in -summer like a light rose-coloured film, which -gradually deepens in colour, particularly in the -track of human footsteps, till at length it turns -almost black. In this state, however, it is not a -rotten mass, but consists principally of carefully -capsuled ‘quiescent spores,’ in which state these -microscopic atoms pass the winter, bearing in -this form the greatest extremes of temperature. -Some have been exposed to a dry heat of a -hundred degrees, and were found still to retain -life-bearing properties; while others, again, were -exposed with impunity to the greatest cold known -in science. This proves that the reproductive -organs in a capsuled state can hear vast extremes -of temperature without injury; a significant fact, -in which lies the secret of the indestructibility -of those germs which are recognised as promoters -of so many diseases.</p> - -<p>Time, too, that great destroyer of most things, -seems to pass harmlessly over this capsuled life. -If the spores find no favourable outlet for their -development, they do not die, no matter how -long a time they may remain thus; and so the -dried remains of red snow brought home from -various polar expeditions have, even after the lapse -of several years, fructified. During the uninterrupted -light of the arctic summers, the ‘snow-blossom’ -develops itself so rapidly, that at last it -covers vast and endless tracts of snow. Although -the sun does not rise very high above the horizon -even at midsummer, yet, owing to the great -clearness and dryness of the atmosphere in those -high regions, it has a considerable degree of -warmth at noon, and Nordenskjöld observed that -one day in July, at mid-day, the temperature just -above the snow was between twenty-five and -thirty degrees centigrade. But it must not be -supposed that the red alga vegetates in the pure -snow; this would not be possible, as, according -to chemical analysis, its body contains numerous -mineral substances. The outer skin or membrane, -particularly, in which the granulæ are stored -seems to hold a quantity of silicon; but chalk, -iron, and other mineral substances peculiar to -the vegetable world, are also not found wanting -in the ashes of the red snow. In fact, the upper -surface of the snow and ice always shows, whenever -it has lain long enough, a thin coating of -inorganic dust, which brings to the snow alga -the mineral constituent parts it requires.</p> - -<p>Nordenskjöld gives some very interesting details -about this dust, from observations made during -his various expeditions. At one time it was -supposed to be a slimy mass carried down from -the hills which pierce the snow, and lodged on -the lower stretches of its upper surface; but -Nordenskjöld found this same dust in like -quantity on the interior ice-fields of Greenland, -where for miles around there were no mountains -near, and also on ice-hummocks that quite -surmounted the ice-plains, as well as on the -nearest hills. During their long sojourn in the -land of ice, they searched very carefully for any -traces of small stones even as large as a pin’s -head; but they could find none; while many -square miles were covered by this fine dust, -gray in its dry state, and becoming black when -moist. It was therefore at last decided that -this dark-coloured matter must be a precipitate -from the atmosphere, and that the summer sun -melting the snows, had allowed numerous dust-showers -to accumulate thus, one on the top of -the other. Nordenskjöld further thinks that it -is not exclusively earth-dust wafted thither by -currents of air, but that it contains a number -of metallic particles, that can be extracted by -a magnet, consisting, like the metallic meteor-stones, -of iron, nickel, and cobalt. This metallic -cosmic dust, which has been noticed previously in -our pages, and which is spread over the whole -world, is best observed and gathered on these vast -snow and ice fields, and as it also bears a similitude -to our ordinary earth-dust, Nordenskjöld has -given it the name of Kyrokonit, or ice-dust.</p> - -<p>At first, the alga of the red snow was looked -upon as the sole inhabitant of the ice-lands of -the polar regions; but in 1870, Dr Berggren, -botanist of Nordenskjöld’s expedition, discovered -a second or reddish-brown alga. It is allied to -the ‘snow-blossom,’ but has this peculiarity, that -it is never found on <i>snow</i>, but combined with the -kyrokonit, it covers enormous tracts of <i>ice</i>, giving -to them a beautiful purple brown tint, which -greatly adds to their beauty. Besides growing -on the surface of the ice, this red-brown alga -was also found in holes one or two feet deep, -and three or four feet across, in some parts so<span class="pagenum" id="Page_63">{63}</span> -numerous and close together that there was scarcely -standing-room between them. A closer examination -showed that this very alga was the cause -of these holes, as wherever it spreads itself, it -favours the melting of the ice. The dark-brown -body absorbs more heat than either the gray -dust or the snow, therefore it sinks ever deeper -into the hollows, until the slanting rays of the sun -can no longer reach it.</p> - -<p>Thus these microscopic algæ play the same part -on the ice-fields of Greenland that small stones -do on European glaciers. By creating holes, they -give the warm summer air a larger surface to -take hold of, and thus materially assist the melting -of the ice. Perhaps it is to these microscopic -atoms that we owe some of the vast changes that -our globe has experienced; it may be by their -agency that the vast wastes of snow that in the -glacial period covered great tracts both of the -European and American continents for some -distance from the poles, have melted gradually -away and given place to shady woods and fields -of grain. It is indeed a remarkable instance of -the power and importance of even the smallest -thing in nature; all the more interesting in this -case, that the sun creates for itself in these tiny -dark atoms, the instruments for boring through -the ice.</p> - -<p>One important fact we must not forget to -mention in conclusion, namely, that these microscopic -plants have tempted many insects—to -which they serve as food—into these inhospitable -regions. A small black glacier flea lives -principally on the red snow; and even in the -arctic regions we find many tiny insects subsisting -entirely on the red and green algæ. -These insects, too, possess the same property -as the algæ, of shutting themselves up in capsules -during the long winter, and like them too, -remain alive even when in a dried condition. -When Professor Wittrock, in the winter of 1880 -to 1881, placed the dried spores of the red -snow in water to germinate, a number of tiny -colourless worms appeared, still living. Thus -even the stern, rigid north pole cannot prevent -the universal spread of life; and if those cosmological -prophets are right who declare that the -whole surface of the earth will one day be covered -with snow and ice, then these minute insects -will have an ample store of food in the red, -green, and brown algæ, and as the last of -living beings, will be able to mock at the general -stagnation; ay, perhaps even become the foundation -of a fresh development of life on our earth, -should any cosmical cause sufficiently increase -the temperature.</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="OCCASIONAL_NOTES">OCCASIONAL NOTES.</h2> -</div> - - -<h3>EXTENDED USE OF GAS COOKING-STOVES.</h3> - -<p><span class="smcap">We</span> have repeatedly called attention to the -practical utility and convenience of gas-stoves -for cooking purposes, and facts to hand seem to -show that these are being largely taken advantage -of by the public. Many gas Companies now -lend them out at a cheap rate, and they may be -had for purchase at a price to suit most buyers. -Since the Corporation Gas Company of Glasgow -introduced the system of hiring out these stoves, -about three thousand five hundred had been lent -out in six months, and the demand continues -unabated. In hotels, restaurants, and many a -private home, they are found doing their work -with economy, ease, and a great saving of labour.</p> - -<p>Dr Stevenson Macadam, speaking of gas-cooking -in its sanitary aspects, says: ‘The wholesomeness -of the meat cooked in the gas-stoves -must be regarded as beyond doubt; gas-cooked -meat will be found to be more juicy and palatable, -and yet free from those alkaloidal bodies produced -during the confined cooking of meat, which are -more or less hurtful, and even poisonous.’ A -joint cooked in a gas-oven weighs heavier than -the same joint cooked in a coal-oven, from the -fact, that in the case of the gas-cooked joint the -juices are more perfectly preserved.</p> - -<p>At the East London Hospital, where the entire -cooking for an enormous number of patients is -done by gas, the managers calculate that fully -six hundred pounds is saved yearly since the -introduction of gas-cooking.</p> - -<p>For the extended use of gas-stoves in Scotland, -the public is greatly indebted to R. and A. Main, -Glasgow, who are ever ready to adopt everything -new in gas-apparatus. Gas is also now largely -used in connection with washing by means of -steam. When we noticed Morton’s Steam-washer, -probably not more than half a dozen had adopted -this easy and economical method of washing, in -Scotland, and now those who do so may be -counted by the hundred.</p> - - -<h3>AUTOMATIC RAILWAY COUPLING.</h3> - -<p>For several months past, some of the goods-wagons -working the traffic on the South Dock -Railway lines of the East and West India Dock -Company have (says the <i>Times</i>) been fitted with a -new form of coupling, which possesses several -important advantages over the ordinary coupling. -Not the least of these are simplicity in construction -and automaticity, combined with certainty -in action. The coupling is the invention of -Mr J. H. Betteley, of 42 Old Broad Street, -London, and consists of a long shackle which is -attached to the drawbar, and stands out at a -slight angle of depression from the carriage or -wagon. Connected with this shackle is a hook -of special shape, which is attached to a bar -running across the carriage front, and having a -short lever fixed on either end just outside the -buffers. To couple the vehicles, they are run -together in the usual way, and, on meeting, the -shackle on one carriage runs up the shackle on -the other and instantly engages with the hook. -Thus the shunter has no dangerous work whatever -to perform. To uncouple, he has simply to -depress the lever, which action raises the hook -and releases the shackle. The hook is so formed -that no matter how much bumping of the -carriages there may be, it cannot be freed from -the shackle without the intervention of the lever, -and the combination therefore forms a perfectly -safe and reliable coupling. In fact, the whole -train could be coupled up automatically, and -the engaged hook and shackle then constitute a -locking apparatus which prevents the carriages -becoming accidentally detached. The coupling can, -moreover, be used on any kind of railway vehicle, -and it is of no moment if the couplings are not -all on the same level, as the higher shackle will<span class="pagenum" id="Page_64">{64}</span> -always travel up the lower one and engage -with the hook of the latter. The apparatus has -been examined and the trucks fitted with it have -been severely tested by General Hutchinson and -Major Marindin, of the Board of Trade, who have -given it their united approval. It certainly -appears to be well fitted to supersede the ordinary -coupling, which has cost so many lives.</p> - - -<h3>CHARLES DICKENS AT WORK.</h3> - -<p>An unpretentious volume entitled <i>Charles -Dickens</i> has been issued in the ‘World’s Workers’ -series (Cassell & Co.), written by the eldest -daughter of the great novelist. It is simply and -pleasantly compiled, and though it may be read -through at a sitting, it gives a good idea as to -what manner of man Dickens was, and how he -lived, talked, wrote, and spoke. As Forster’s -Life of Dickens is beyond the reach of many, -this book, which has been specially written for -the young, will form a good introduction to his -writings, of which there is a complete summary -at the end of the volume. It forms an affectionate -tribute from a daughter to a father, and, -as was to be expected, exhibits the more human -side of his character. A sketch of his demeanour -in his study, as witnessed by one of his daughters, -who had been taken there after an illness, will -have the charm of novelty to many people. ‘For -a long time there was no sound but the rapid -moving of his pen on the paper; then suddenly -he jumped up, looked at himself in the glass, -rushed back to his desk, then to the glass again, -when presently he turned round and faced his -daughter, staring at her, but not seeing her, and -talking rapidly to himself, then once more back -to his desk, where he remained writing until -luncheon-time.... It was wonderful to see how -completely he threw himself into the character -his own imagination had made, his face, indeed -his whole body, changing, and he himself being -lost entirely in working out his own ideas. Small -wonder that his works took so much out of him, -for he did literally <i>live</i> in his books while writing -them, turning his own creations into living realities, -with whom he wept, and with whom he -rejoiced.’</p> - - -<h3>PLASTERING MADE EASY.</h3> - -<p>Architects and those interested in the erection -of new houses have frequently looked upon the -application of plaster as one of the greatest drawbacks -of modern building, showing, besides, a -marked deterioration from old plaster-work, such -as that found on walls of ancient buildings, -some of which, of a highly decorative character, -may still be found almost as sound as when first -executed. In Hardwick Old Hall, Derbyshire, -though roof and floor are gone, the decorative -friezes still remain in wonderful preservation. -Many ancient manor-houses and farm-buildings -show specimens of fine and enduring plaster-work.</p> - -<p>A new cement has been invented, and patented, -which appears to have the qualities of both -cement and plaster, and greatly simplifies the -process. The patentees are Joseph Robinson & -Co., of the Knothill Cement and Plaster Works, -near Carlisle, who have been engaged in the -manufacture of plaster for the past sixty years. -From the almost inexhaustible products of their -alabaster quarries in Inglewood Forest, this new -cement is made. It is claimed for it that, while -being equal to the Keene’s and Parian cements now -in use, it is cheap enough to be used as they are, -and also as a substitute for ordinary plastering.</p> - -<p>In the erection of new buildings, the plasterer’s -pit takes up much room, and is often looked upon -as a necessary evil. In putting on the common -three coats of plaster, the second and third can -only be laid on when that before it is sufficiently -dry. Owing to the unequal shrinkage of the different -materials, it is often an uncertain method -of doing good work. When using the cement -we speak of, the plasterers can be put into a room -with the requisite quantities of sand and cement, -and work straight away. There is no delay -required for drying, for as fast as one coat is -done, the finishing coat can be run on and the -whole completed. It has the merit, also, of -neither shrinking nor expanding, is impervious -to absorption and infection, and its hard surface -affords facilities for washing or taking on paint.</p> - -<p>As to its fire-resisting qualities, Captain Shaw, -of the Metropolitan Fire Brigade, is of opinion -that it ‘would be much more effectual in preventing -the spread of fire than any other of the -common plasters or cements generally used in this -country.’</p> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="AT_WAKING">AT WAKING.</h2> -</div> - - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0"><span class="smcap">I bore</span> dead Love unto his grave,</div> - <div class="verse indent2">Beneath a willow, in winter’s rain,</div> - <div class="verse indent0">Where he might feel the branches wave,</div> - <div class="verse indent2">And hear me, if he woke again.</div> - </div> - <div class="stanza"> - <div class="verse indent0">One withered rose-tree on his tomb</div> - <div class="verse indent2">I planted, so that, by-and-by,</div> - <div class="verse indent0">If he should wake, the rose might bloom,</div> - <div class="verse indent2">And I should know, and hear him cry.</div> - </div> - <div class="stanza"> - <div class="verse indent0">I decked his breast with rosemary,</div> - <div class="verse indent2">Laid on his lips one violet,</div> - <div class="verse indent0">That once he kissed; I think if he</div> - <div class="verse indent2">Should wake, he will not quite forget.</div> - </div> - <div class="stanza"> - <div class="verse indent0">I set a crown about his brow,</div> - <div class="verse indent2">The crown affection weaves and wears;</div> - <div class="verse indent0">At waking, he will hardly know,</div> - <div class="verse indent2">I fear, whose diadem he shares.</div> - </div> - <div class="stanza"> - <div class="verse indent0">I placed a lily in his hand—</div> - <div class="verse indent2">Sceptre of his dead sovereignty;</div> - <div class="verse indent0">At waking, will he understand</div> - <div class="verse indent2"><i>Who</i> placed it there, to bloom or die?</div> - </div> - <div class="stanza"> - <div class="verse indent0">I laid my heart, that for his sake</div> - <div class="verse indent2">Remembers now no old sweet strain,</div> - <div class="verse indent0">Close to his ear; he, if he wake,</div> - <div class="verse indent2">Perchance may tune its strings again.</div> - </div> - <div class="stanza"> - <div class="verse indent0">If he should wake! Till death be dead,</div> - <div class="verse indent2">Till life begin, and sleep be past,</div> - <div class="verse indent0">Till on his breast he lay thy head,</div> - <div class="verse indent2">And flowers begin to bloom at last—</div> - </div> - <div class="stanza"> - <div class="verse indent0">O soul, remember! lest by thee</div> - <div class="verse indent2">That unknown sweetness be forgot</div> - <div class="verse indent0">Which now thou lookest for, and he</div> - <div class="verse indent2">Bid thee ‘Depart! I know thee not.’</div> - </div> - <div class="stanza"> - <div class="verse right"><span class="smcap">Sidney R. Thompson.</span></div> - </div> -</div> -</div> - -<hr class="full" /> - -<p class="center">Printed and Published by <span class="smcap">W. & R. Chambers</span>, 47 Paternoster -Row, <span class="smcap">London</span>, and 339 High Street, <span class="smcap">Edinburgh</span>.</p> - -<hr class="full" /> - -<p class="center"><i>All rights reserved.</i></p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK CHAMBERS'S JOURNAL OF POPULAR LITERATURE, SCIENCE, AND ART, FIFTH SERIES, NO. 108, VOL. III, JANUARY 23, 1886 ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks 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. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ 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™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -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™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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™ 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™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ 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™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ 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™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -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™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ 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: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - 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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. 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. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ 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™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ 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™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -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™ License. -</div> - -<div style='display:block; margin:1em 0'> -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™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(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™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ 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.” - </div> - - <div style='text-indent:-0.7em'> - • 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™ - 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™ - works. - </div> - - <div style='text-indent:-0.7em'> - • 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. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -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™ collection. Despite these efforts, Project Gutenberg™ -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ trademark, and any other party distributing a Project -Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -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™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ 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™ 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. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s 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 website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -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. -</div> - -<div style='display:block; margin:1em 0'> -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 <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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. -</div> - -<div style='display:block; margin:1em 0'> -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 -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ 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. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -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. -</div> - -</div> -</body> -</html> diff --git a/old/67008-h/images/cover.jpg b/old/67008-h/images/cover.jpg Binary files differdeleted file mode 100644 index 8dfd297..0000000 --- a/old/67008-h/images/cover.jpg +++ /dev/null diff --git a/old/67008-h/images/header.jpg b/old/67008-h/images/header.jpg Binary files differdeleted file mode 100644 index 7892f08..0000000 --- a/old/67008-h/images/header.jpg +++ /dev/null diff --git a/old/67008-h/images/i_056.jpg b/old/67008-h/images/i_056.jpg Binary files differdeleted file mode 100644 index 372d0f9..0000000 --- a/old/67008-h/images/i_056.jpg +++ /dev/null |
