diff options
Diffstat (limited to 'old/68370-0.txt')
| -rw-r--r-- | old/68370-0.txt | 1347 |
1 files changed, 0 insertions, 1347 deletions
diff --git a/old/68370-0.txt b/old/68370-0.txt deleted file mode 100644 index 92caef6..0000000 --- a/old/68370-0.txt +++ /dev/null @@ -1,1347 +0,0 @@ -The Project Gutenberg eBook of The Philistine: a periodical of -protest (Vol. I, No. 1, June 1895), by Various - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: The Philistine: a periodical of protest (Vol. I, No. 1, June - 1895) - -Author: Various - -Release Date: June 21, 2022 [eBook #68370] - -Language: English - -Produced by: hekula03 and the Online Distributed Proofreading Team at - https://www.pgdp.net (This book was produced from images - made available by the HathiTrust Digital Library.) - -*** START OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL -OF PROTEST (VOL. I, NO. 1, JUNE 1895) *** - - - - - - - The Philistine - A Periodical of Protest. - - “_Those Philistines who engender animosity, stir up trouble - and then smile._”—JOHN CALVIN. - - [Illustration] - - Vol. I No. 1. - - Printed Every Little While for The Society - of The Philistines and Published - by Them Monthly. Subscription, One - Dollar Yearly - Single Copies, 10 Cents. June, 1895. - - - - -THE PHILISTINE. - - - - -Contents for June. - - - 1. Quatrains, - E. R. White. - - 2. Philistines Ancient and Modern, - William McIntosh. - - 3. The Sanity of Genius, - Rowland B. Mahany. - - 4. English Monuments, - Elbert Hubbard. - - 5. Ballade des Écrivains du Temps Jadis, - G. F. Warren. - - 6. Philistinism in General, - Mark S. Hubbell. - - 7. Side Talks, - The East Aurora School of Philosophy. - -COPYRIGHT 1895 - - - - -THE PHILISTINE. - - NO. 1. June, 1895. VOL. 1. - - - - -QUATRAINS. - - - If one could hear aright the murmurings - Of some shore-stranded sea-shell as it sings, - It might be then that he would come to know - An inkling of the Planner’s purposings. - - The weary shuttle can no more divine - Of how its thread looks, in the whole design, - Than we poor shuttles, in the hand of Fate - Can fathom of the Plan a single line. - - E. R. WHITE. - - - - -PHILISTINES ANCIENT AND MODERN. - - “THE ANCIENT PHILISTINES.—The enemies of the children of - light.”—_International Cyclopedia._ - - “PHILISTINE.—A term of contempt applied by prigs to the rest of - their species.”—LESLIE STEPHEN. - - -A tiny spot on the map is the Philistia of Old Testament days—a way -station on the path of commerce between alphabet-building Phœnicia to -the north, and Canaan and predatory Arabia on the south. But long before -those hardy neighbors plagued Israel and made a hostage of the Ark -of the Covenant there were Philistines in the world, influencing its -destinies. - -Tradition has been unkind to Philistinism as to many other good things. -The Serpent in the Garden is the earliest embodiment of the genius of -protest, unless we follow John Milton farther back to the rebellion in -the Court of Heaven, organized by the Sons of the Morning. Omnipotence -that founded order set in motion change also. The unrest that is the -electro-motor of progress is in nature as in man, and evolution is its -perpetual law. - -Human society was ripe for Philistines when Noah launched his ocean -palace inland. Scarce a century later the egotism of man sought to scale -high heaven from a tower of brick and asphalt. Matter was deified with -the usual result, and a discordant medley of alien labor was all the -product of the giant enterprise. - -Down through the patriarchal ages the conservative men who builded -cities and the sons of progress who balked established order and moved -on kept up the alternation of forces. Jacob wrung from an angel his -divine endowment and won his brother’s primogeniture when Esau, the -conservative, gave all the future for the good things near by. Joseph, -the dreamer, peddled like old clothes to a rag man, showed his thrifty -brothers a bunco trick worth learning when he had come, a stranger of a -despised race, to be all but a Pharaoh in the capital of civilization. -The trumpet blasts that felled Jericho, the vanquishing shouts of -Gideon, the sling of the shepherd stripling that freed a nation, tell of -seemingly inadequate means out of the conservative order that changed -history. Moses, prophet and lawgiver and priest, killed his man and was a -fugitive a generation before he abandoned his princely rank in Egypt to -lead a nation of slaves into the evolution of independence and mastery of -the world’s spiritual thought. - -The ancient monarchies went to wreck when the social order had become -stationary—encrusted with custom and caste. But a few Philistines, -destroyers of arbitrary ranks, recreated the world in the democracy of -Chivalry, and that in turn went down when its vital purpose had been -achieved and its orders had become set and stifled progress. - -It was a Philistine, a despised player and holder of horses, who gave the -modern world its literature. It was a heretic monk who threw ink-stands, -not only at Satan, but at embodied and enthroned religion, who gave the -modern world its impetus to freedom. The imaginative authors who most -strongly sway mankind today are Philistines. Thackeray smilingly lifted -the mask from aristocracy and exposed its sordid servility. Dickens threw -down the idols of pretentious respectability. Hugo taught the democracy -of virtue. Tolstoi dethroned convention in religion. Ibsen divorced -morality from law. - -The note of protest resounds throughout history. Every age seeks in -material gratifications the realization of its destiny. Everywhere genius -becomes conservative and sterile; art grows self-conscious and measures -achievement by technical difficulties; ceremonial binds social life; -law protects artificial privilege; religion is refined into theology or -materialized into idolatry; hospitality becomes an exchange, and the -humanities are buried alive under their own machinery. They who protest, -who exalt purpose and measure achievement thereby, are called Philistines. - -They realize the finiteness of all created things. They see evolution in -all, and hold naught that is finite to be final. - -Philistinism is the world’s perpetual crusade. It reveres tradition, but -it despises commonplace in purple. - - WILLIAM MCINTOSH. - - - - -THE SANITY OF GENIUS. - - - I talked with one who made a life “success” - Along convention’s smooth and hedge-trimmed road, - Type of that class who bear but their own load, - And “shrewdly” shun the fiery storm and stress, - When hearts and souls unselfish forward press - To mitigate oppression’s stinging goad; - Reformers he called geniuses, but showed - That genius is “a kind of foolishness.” - - Well, when I thought how soon he would be cold, - How soon forgotten, and in how few years - His idiot heirs would spend his hoardings vain, - While “the eccentrics” would in ways untold - Make ever less the sum of human tears, - It seemed to me—genius alone is sane! - - ROWLAND B. MAHANY. - -Legation of the United States, Quito, 1893. - - - - -ENGLISH MONUMENTS. - - -England relegates her poets to a “Corner.” The earth and the fullness -thereof belongs to the men who can kill; on this rock have her State and -Church been built. - -As the tourist approaches the city of London for the first time there -are four monuments that probably will attract his attention. They lift -themselves out of the fog and smoke and soot, and seem to struggle toward -the blue. - -One of these monuments is to commemorate a calamity—the conflagration of -1666—and the others are in honor of deeds of war. - -The finest memorial in St. Paul’s is to a certain Irishman, Albert -Wellesley, Duke of Wellington. The mines and quarries of earth have been -called on for the richest contributions; and talent and skill have given -their all to produce this enduring work of beauty that tells posterity of -the mighty acts of this mighty man. The rare richness and lavish beauty -of the Wellington mausoleum is only surpassed by that of a certain tomb -in France. - -As an exploiter the Corsican overdid the thing a bit—so the world -arose and put him down; but safely dead his shade can boast a grave so -sumptuous that Englishmen in Paris refuse to look upon it. - -But England need not be ashamed. Her land is spiked with glittering -monuments to greatness gone. And on these monuments you often get the -epitomized life of the man whose dust lies below. - -On the carved marble to Lord Cornwallis I read that “He defeated the -Americans with great slaughter.” And so, wherever in England I see a -beautiful monument I know that probably the inscription will tell how -“he defeated” somebody. And one grows to the belief that, while woman’s -glory is her hair, man’s glory is to defeat someone. And if he can -“defeat with great slaughter” his monument is twice as high as if he had -only visited on his brother man a plain defeat. In truth I am told by -a friend who has a bias for statistics, that all monuments above fifty -feet high in England, are to men who have defeated other men “with great -slaughter.” The only exceptions to this rule are the Albert Memorial, -which is a tribute of wifely affection rather than a public testimonial, -so therefore need not be considered here, and a monument to a worthy -brewer who died and left three hundred thousand pound to charity. I -mentioned this fact to my friend, but he unhorsed me by declaring that -modesty forbade carving truth on the monument, yet it was a fact that -the brewer, too, had brought defeat to vast numbers and had, like Saul, -slaughtered his thousands. - -When I visited the site of the Globe Theater and found thereon a brewery -whose shares are warranted to make the owner rich beyond the dream of -avarice, I was depressed. In my boyhood I had supposed that if ever I -should reach this spot where Shakespeare’s plays were first produced -I should see a beautiful park and a splendid monument; while some -white-haired old patriarch would greet me and give a little lecture to -the assembled pilgrims on the great man whose footsteps had made sacred -the soil beneath our feet. - -But there is no park, no monument and no white-haired old poet to give -you welcome—only a brewery. - -“Aye, mon, but ain’t ut a big ’un?” protested an Englishman who heard my -murmurs. - -Yes, yes, we must be truthful. It is a big brewery, and there are four -big bulldogs in the court way; and there are big vats; and big workmen -in big aprons. And each of these workmen is allowed to drink six quarts -of beer each day without charge, which proves that the true Christian -spirit is not dead. Then there are big horses that draw the big wagons -and on the corner is a big tap room where the thirsty are served with big -glasses. - -The founder of this brewery became very rich; and if my statistical -friend is right, the owners of these mighty vats have defeated mankind -“with great slaughter.” - -We have seen that although Napoleon, the defeated, has a more gorgeous -tomb than Wellington, who defeated him, yet there is consolation in the -thought that although England has no monument to Shakespeare, he now -has the freedom of Elysium; while the present address of the British -worthies, who have battened and fattened on poor humanity’s thirst for -strong drink since Samuel Johnson was executor of Thrale’s estate, is -unknown. - -We have this on the authority of a Spirit Medium, who says: “The virtues -essential and peculiar to the exalted station of the British worthy -debars the unfortunate possessor from entering Paradise. There is not -a Lord Chancellor, or Lord Mayor, or Lord of the Chamber, or Master of -the Hounds, or Beefeater in Ordinary, or any sort of British bigwig out -of the whole of British Beadledom, upon which the sun never sets, in -Elysium. This is the only dignity beyond their reach.” - -This Mejum is an honorable person, and I am sure he would not make this -assertion if he did not have proof of the facts. So for the present we -will allow him to go on his own recognizance, believing that he will -adduce his documents at the proper time. - -But still should not England have a fitting monument to Shakespeare? He -is her one universal citizen. His name is honored in every school or -college of earth where books are prized. There is no scholar in any clime -who is not his debtor. - -He was born in England, he was never out of England, his ashes rest in -England. - -But England’s Budget has never been ballasted with a single pound to help -preserve inviolate the memory of her one son to whom the world uncovers. - -Victor Hugo has said something on this subject about like this: - -Why a monument to Shakespeare? He is his own monument and England is its -pedestal. Shakespeare has no need of a pyramid; he has his work. - -What can bronze or marble do for him? Malachite and alabaster are of no -avail. Jasper, serpentine, basalt, porphyry, granite; stones from Paros -and marble from Carrara—they are all a waste of pains; genius can do -without them. - -What is as indestructible as these: _The Tempest_, _The Winter’s Tale_, -_Julius Cæsar_, _Coriolanus_? What monument sublimer than _Lear_, sterner -than _The Merchant of Venice_, more dazzling than _Romeo and Juliet_, -more amazing than _Richard III_? - -What moon could shed about the pile a light more mystic than that of _A -Midsummer Night’s Dream_? What capital, were it even in London, could -rumble around it as tumultuously as Macbeth’s perturbed soul? What -framework of cedar or oak will last as long as _Othello_? What bronze can -equal the bronze of _Hamlet_? - -No construction of lime, of rock, of iron and of cement is worth the -deep breath of genius, which is the respiration of God through man. What -edifice can equal thought? Babel is less lofty than Isaiah; Cheops is -smaller than Homer; the Colosseum is inferior to Juvenal; the Giralda at -Seville is dwarfed by the side of Cervantes; St. Peter’s at Rome does not -reach to the ankle of Dante. - -What architect has the skill to build a tower so high as the name of -Shakespeare? Add anything if you can to mind! Then why a monument to -Shakespeare? - -I answer, Not for the glory of Shakespeare, but for the honor of England! - - ELBERT HUBBARD. - - - - -BALLADE DES ÉCRIVAINS DU TEMPS JADIS. - -PUBLISHED IN CHICAGO _circa_ A. D. 1930, AND PRINTED BY THE PHILISTINE -FROM ADVANCE SHEETS. - - - In what Limbo, or Paradis, - Hides the bulge of his brainful brow - Ponderous Howells, W. D.? - Where vade Warner and Aldrich now, - Boyesen, knowful of why and how, - Skandine skald of the soulful sneer— - Light his pen as a sub-soil plow—? - _But where is the froth of yestreen’s beer?_ - - Where now drivels the droolful Bok? - Whither doth Harding Davis fare? - And Riley, best of the rhyming flock? - Where is the georgic Garland, where - Harte, tamed cub of the grizzly bear? - Ben Hur Wallace, whose style was queer? - Quipful Clemens, that jester rare? - _But where is the froth of yestreen’s beer?_ - - Where hies Hawthorne, last of the name? - Gamesome Stockton, where gambols he, - With lass and tiger, his fee to fame? - And Bunner, airful of Arcadie? - Whither doth Brander Matthews flee? - Slim, sad Gilder, sweet sonneteer, - Darling and pride of his Century? - _But where is the froth of yestreen’s beer?_ - - Sought ye, gentles, a year and day - Tidings of these, ye still must hear - The doleful burden of this poor lay, - _But where is the froth of yestreen’s beer?_ - - G. F. W. - - - - -PHILISTINISM IN GENERAL. - - -I doff my hat to THE PHILISTINE and hail it “Brother well met.” - -In the name of all who have hated shams, in the name of all brave knights -whose lances have shivered against the dead walls of human stupidity, -ignorance, malice and convention; in the name of every stifled and -unuttered song that should have mounted like a meadow lark’s to heaven; -in the name of every pilloried hope and dead ambition killed in the long -battle with the Mediocrities and the Banalities greet thee, Knight Errant -from Philistia, and bid thee God speed. - -And having,“hailed,” and “bade,” and “greeted,” let me say that though -the world is wide and shams are many, and the race, to the swift usually, -and the fight to the strong almost always, and though the God of battle, -is according to Napoleon, whom it is fashionable to quote “on the side of -the big battalions,” yet strong blows for truth are cumulative and THE -PHILISTINE’S bright blade must be dyed often with the blood of Error ere -it be sheathed and every lie sooner or later driven to its sure end of -bankruptcy. - -I will not hail you Reformer, for that old and honorable name like that -older and still more honorable one of “gentleman” has fallen recently -into disrepute and at last reports was still falling; besides reformers -are often failures, and too often after a brief career are found taking -tea with the Mammon of Unrighteousness, having assumed their discarded -role originally rather for “what there was in it,” than from exalted -or high-minded motives or to improve the condition of their respective -healths. - -A young man called once on the great Voltaire, and besought his -encouragement in projects he had conceived for a reorganized and better -scheme of human society, The philosopher leaned his head upon his hand -and thought a minute, then rising, led the way to an inner room, where, -against the velvet-hung wall, was an ivory figure of the Redeemer on the -cross; he pointed to it with warning forefinger. “Young man,” he said, -“behold the fate of a reformer.” - -When I see the little things many men strive and cavil over and the great -ones they disregard or ignore I know that the kingdom of Liliput was not -a figment of the imagination of the genial Swift but a lesson from real -life. And when I consider how they swarm like water-bugs and quarrel over -the pronunciation of words and bicker with their neighbor to make him or -her use the sharp “a” in “squalor” so as to make it “squaylor,” I think -sensible people might be excused for weeping or even swearing. - -Little people these, say I, and I would wager a dollar to nothing that -William Dean Howells is their prophet and that they all venerate his -works. - -The mere fact that Howells is, is a proof that there are those who want -Howells besides himself, and while not entirely subscribing to the saying -that “whatever is is best,” it must be recognized that it has its _raison -d’être_, and we all know Howells has his readers or he would not have his -publishers. - -One can almost tell what a man’s opinions will be by knowing what he -reads or has read, just as I once heard it said of a tuft-hunting editor -that it could be predicated with absolute certainty what position he -would take on a public question by learning with whom he walked down -town in the morning or with what wealthy parvenu he passed the previous -evening. This is but a modern application of the old saw, “a man is known -by the company he keeps,” and mentally he may be known by the books he -reads or the magazines he skims through. I shudder for Richard Watson -Gilder, John Brisben Walker, E. Bok, and others of the Mutual Admiration -Society style of periodical makers if they are to be believed to keep -the company or read the lucubrations of the contributors to the dreary -masses of illustrated inanities they edit, publications which have claims -to interest, based alone upon the merit of their illustrations and the -perfection of their typographical beauty. - -But to recur to the line of romance and digress from the magazines which -need so much attention, and from “Bartley” and the other counter jumping -namby-pamby, goody-goodies of the Howells stripe, including his own weary -history of himself, and the “Books Which Most Influence Him,” the baleful -effects of which are legitimately and plainly perceptible in his works. -There are shams in literature more dreadful than Mr. Howells, who is a -turgid fact and no sham. For instance; - -I know of one evanescently popular young creature who chronically -contributes to the magazines, whose mother it is said, writes his tales -which, she being a clever woman and he an uncommonly stupid man, appears -credible to say the least; and there is another “man” I am told of whose -sister is said to write his poems and modestly efface herself, and as -the stories are good and the poems fairly readable, it should be the -part of THE PHILISTINE to disclose to the world the real authors and -chastise these and other shams, for shams are the hardest hurdles in the -steeplechase which Truth has to make in this world, since they substitute -the false for the real and crown the fool with the laurels of the genius. - -How much more might be said of the tasks you have to accomplish, brave -PHILISTINE with your brawny arm and your good naked sword! So much that -the very thought of it fatigues one and that, hailing you as the latest -and best contestant in the tourney of Knighthood and yet, considering you -as a publication in an embryonic stage, I am compelled to quote these -lovely lines of Longfellow: - - “Oh, little feet that such long years - Must wander through this vale of tears, - I, nearer to the wayside inn - Where travail ends and rest begins, - Grow weary thinking of your road.” - - MARK S. HUBBELL. - - - - -SIDE TALKS WITH THE PHILISTINES: BEING SUNDRY BITS OF WISDOM WHICH HAVE -BEEN HERETOFORE SECRETED, AND ARE NOW SET FORTH IN PRINT. - - -It is a land of free speech, Philistia, and if one of us chooses to make -remarks concerning the work of the others no sense of modesty keeps us -quiet. It is because we cannot say what we would in the periodicals which -are now issued in a dignified, manner in various places, that we have -made this book. In the afore-mentioned periodicals divers men chatter -with great fluency, startling regularity and “damnable complacency,” each -through his individual bonnet. Edward W. Bok, evidently assisted by Mrs. -Lydia Pinkham and W. L. Douglas, of Brocton, Massachusetts, prints the -innermost secrets of dead women told by their living male relatives for -six dollars a column. Thereby the authors are furnished with the price of -a week’s board, and those of us who may have left some little sense of -decency, wonder what manner of man it may be who sells his wife’s heart -to the readers of Bok. But the “unspeakable Bok” is “successful.” His -magazine flourishes like a green bay tree. Many readers write him upon -subjects of deportment and other matters in which he is accomplished. So, -the gods give us joy! Let him drive on, and may his _Home Journal_ have -five million readers before the year is out—God help them! - -Mr. Gilder dishes up monthly beautifully printed articles which nobody -cares about, but which everybody buys, because _The Century_ looks well -on the library table. - -Mr. Howells maunders weekly in a column called “Life and Letters” in -Harper’s journal of civilization. This “Life and Letters” reminds me -of the Peterkin’s famous picnic at Strawberry Nook. “There weren’t any -strawberries and there wasn’t any nook, but there was a good place to tie -the horses.” - -So it goes through the whole list. There are people, however, who believe -that Romance is not dead, and that there is literature to be made which -is neither inane nor yet smells of the kitchen sink. This is a great big -merry world, says Mr. Dana, and there’s much good to be got out of it, so -toward those who believe as we do—we of Philistia—this paper starts upon -its great and perilous voyage at one dollar a year. - -It was Balzac, or some one else, who used to tell of a flea that lived -on a mangy lion and boasted to all the rank outside fleas that he met: I -have in me the blood of the King of Beasts. - - * * * * * - -It is a comforting thought that somewhere, at some time, every good thing -on earth is brought to an accounting of itself. Thereby are the children -of men saved from much tyranny. For the good things of earth are your -true oppressors. - -For such an accounting are Philistines born in every age. By their audit -are men perpetually set free from trammels self-woven. - -Earnest men have marvelled in all times that convention has imputed to -husks and symbols the potency of the things they outwardly stand for. -Many also have protested, and these, in reproach, have been called -Philistines. And yet they have done no more than show forth that in all -things the vital purpose is more than the form that shrines it. The -inspirations of to-day are the shams of to-morrow—for the purpose has -departed and only the dead form of custom remains. “Is not the body more -than raiment”—and is not life more than the formulæ that hedge it in? - -Wherefore men who do their own thinking, and eke women betimes, take -honor rather than disparagement in the name which is meant to typify -remorseless commonplace. They hesitate not to question custom, whether -there be reason in it. They ask “Why?” when one makes proclamation: - -“Lo! Columbus discovered America four hundred years ago! Let us give -a dance.” There have been teachers who sought to persuade mankind that -use alone is beauty—and these too have done violence to the fitness of -things. On such ideals is the civilization of Cathay founded. Neither -in the grossness of material things nor in the false refinements that -“divorce the feeling from its mate the deed” is the core and essence of -living. - -It is the business of the true Philistine to rescue from the environment -of custom and ostentation the beauty and the goodness cribbed therein. -And so the Philistines of these days, whose prime type is the Knight of -La Mancha, go tilting at windmills and other fortresses—often on sorry -nags and with shaky lances, and yet on heroic errand bent. And to such -merry joust and fielding all lovers of chivalry are bidden: to look -on—perhaps to laugh, it may be to grieve at a woeful belittling of lofty -enterprise. Come, such of you as have patience with such warriors. It is -Sancho Panza who invites you. - - * * * * * - -_The Chip-Munk_ has a bright reference in the issue of May 15 to -Coventry, Patmore, Pater and Meredith. These are four great men, as _The -Chip-Munk_ boldly states. - -_The Chip-Munk_ further announces that the Only Original Lynx-Eyed Proof -Reader has not gone on a journey. Really, I supposed of course he had -been gone these many moons! - - * * * * * - -I wonder if Carman is still upon a diet of Mellin’s Food that he imagines -people do not know that this poem - - LITTLE LYRICS OF JOY—V. - - Lord of the vasty tent of Heaven, - Who hast to thy saints and sages given - A thousand nights with their thousand stars, - And the star of faith for a thousand years. - - Grant me, only a foolish rover, - All thy beautiful wide world over, - A thousand loves in a thousand days, - And one great love for a thousand years. - - —BLISS CARMAN in _The Chap Book_, May, 1895. - -was written years and years ago as follows: - - The night has a thousand eyes, - And the day but one; - Yet the light of the bright world dies - With the dying sun. - - The mind has a thousand eyes, - And the heart but one; - Yet the light of a whole life dies - When love is done. - - —FRANCIS W. BOURDILLON. - -I desire to swipe him after this manner: - - LITTLE DELIRICS OF BLISS. - - MDCCCXCIV. - - Lord of the wires that tangle Heaven, - Who hast to thy brake-persuaders given, - The longest of days to ring and grind, - And no least screen from the winter’s wind. - - Grant me, only, a summer lover, - Sunshiny days the long year over, - A thousand whirls and a thousand fares, - And one long whirl of a thousand hours. - - JOY TROLLEYMAN. - - IV-XI-XLIV. - - White and rose are the colors of strife, - What care I for the crimson and blue? - Greater than football the battle of life - And tragic as aught the gods may view, - The clutch and the gripe of inward ills; - Pallid the People and Pink the Pills. - - JOY CARTMAN. - - * * * * * - -Mark Twain says he is writing “Joan of Arc” anonymously in _Harper’s_ -because he is convinced if he signed it the people would insist the stuff -was funny. Mr. Twain is worried unnecessarily. It has been a long time -since any one insisted the matter he turns out so voluminously was or is -funny. - - * * * * * - -The amusing William Dean Howells writes that he is so bothered by -autograph seekers that he will hereafter refuse to send his signature -“with a sentiment” unless the applicant for his favor produces -satisfactory evidence he has read all of his works, “now some thirty or -forty in number.” When this proof has been sent if Mr. Howells does not -return his autograph on the bottom of a check for a large amount, he -deserves to be arrested for cruelty to his fellows. - - * * * * * - -There is no doubt that a teacher once committed to a certain line of -thought will cling to that line long after all others have deserted it. -In trying to persuade others he convinces himself. This is especially so -if he is opposed. Opposition evolves in his mind a maternal affection for -the product of his brain and he defends it blindly to the death. Thus -we see why institutions are so conservative. Like the coral insect they -secrete osseous matter; and when a preacher preaches he himself always -goes forward to the mourners’ bench and accepts all of the dogmas that -have just been so ably stated. - - * * * * * - -Literature is the noblest of all the arts. Music dies on the air, or -at best exists only as a memory; oratory ceases with the effort; the -painter’s colors fade and the canvas rots; the marble is dragged from its -pedestal and is broken into fragments; but the _Index Expurgatorius_ is -as naught, and the books burned by the fires of the _auto da fe_ still -live. Literature is reproduced ten thousand times ten thousand and lodges -its appeal with posterity. It dedicates itself to Time. - - * * * * * - -The action of various theatrical managers in cutting from their -programmes the name of the author of the plays running at their houses -and the similar action of numerous librarians in withdrawing his books -from their shelves is simply another proof of the marvellous powers -of stultification possessed by the humans of the present time. These -managers, having the scattering wits of birds, do not seem to appreciate -that, whatever the character of the author, the plays he has written -were as bad before they were produced as they are now that he has been -so effectually extinguished; and these librarians cannot comprehend, -evidently, that his books were fully as immoral as they are now when they -were first put on the shelves. Would it not be a refreshing thing to -find a theatrical manager who managed a theater because he had an honest -purpose of elevating, perpetuating, purifying and strengthening the -drama, instead of speculating in it as a Jew speculates in old clothes? -And would it not be a marvel to discover librarian who knew something -about books? - - * * * * * - -Buffalo, New York, is getting to be very classic in some things. It -tolerated the nude with great equanimity in the recent Art Exhibition -and exhibits the female embodiment of everything ideal, from the German -muse of song to the still more German muse of barley products, at the -great variety of fests, more or less related to beer, that follow in -swift succession in that town. But the classic climax was reached on -Good Friday of this year, when the Venus of Milo, mounted on a Bock beer -pedestal, was the center piece of an Easter symbol picture in a Hebrew -clothing advertisement. The limit of Buffalo congruity seems to have been -reached. - - * * * * * - -_The Chip-Munk_ for May has a bit of folk-lore about a man who advised -another to join a conspiracy of silence. This item appeared in 1893 and -during 1894 was published by actual count in one hundred and forty-nine -newspapers. The editors of _The Chip-Munk_ are a bit slow in reading -their exchanges. - - * * * * * - -The Two Orphans at the Kate Claxton Building, Chicago Stockyards, have -a motto on their letter heads that reads, “We are the people and wisdom -will die with us.” - - * * * * * - -The editor of _The Baseburner_, who claims to be a veritist, states that -it is not true that the Garland stoves were named after Ham Garland of -Chicago Stockyards; but the fact is Garland named himself after the -stoves. - - * * * * * - -_Current Literature_ recently had a long article on Louise Imogene -Guinly. Doubtless the spelling of the name was a typographical error, -as the editor probably refers to Miss Louisa Imogene Quinney, who is -postmistress at Auburn, New York, and daughter of Richard Quinney, -manufacturer of the famous Quinney Mineral Water. - - * * * * * - -Judge Robert Grant has in preparation a series of articles called “How to -Live on a Million a Minute and Have Money to Burn.” - - * * * * * - -I hear the voice of the editors of _The Chip-Munk_ complaining that -_Little Journeys_, _The Bibelot_, _Chips_ and other publications are -base, would-be imitators of their own chaste periodical. Why, you sweet -things, did you know that many hundred years ago a great printer made a -book which was printed in black inside with a cover in red and black. I -believe this is the thing which you claim is original with yourselves. -So far as the rest of the periodicals are concerned I have no means of -knowing whether they are imitations or not, but _Little Journeys_ was in -type and printed long before _The Chip-Munk_ came out of its hole. - - * * * * * - -Messrs. Copeland & Day of Boston recently published for Mr. Stephen -Crane a book which he called “The Black Riders.” I don’t know why; the -riders might have as easily been green or yellow or baby-blue for all the -book tells about them, and I think the title, “The Pink Rooters,” would -have been better, but it doesn’t matter. My friend, The Onlooker, of -_Town Topics_, quotes one of the verses and says this, which I heartily -endorse: - - I saw a man pursuing the horizon; - Round and round they sped. - I was disturbed at this; - I accosted the man. - “It is futile,” I said, - “You can never”—— - “You lie,” he cried. - And ran on. - -This was Mr. Howells proving that Ibsen is valuable and interesting. It -is to be hoped that Mr. Crane will write another poem about him after his -legs have been worn off. - - * * * * * - -I was moved to read Mr. Hermann Sudermann’s diverting novel, “The Wish,” -upon observing an extended notice in the “Sub Rosa” column of the Buffalo -_Courier_. The writer therein alleged that the novel taught a great moral -lesson, and desiring to be taught a great moral lesson I bought the book. -It treats of the wish of a girl for her sister’s death in order that she -might marry the husband. I suppose the great moral truth is that one -should not wish for such things, but I supposed that had been taught in -one of the Commandments, which tells of coveting thy neighbor’s wife, -and my Sunday School teacher used to tell me that it referred equally -to husbands. I was evidently mistaken, and Hermann Sudermann is hereby -hailed as a teacher of morals. I should think, from the style of the “Sub -Rosa” article, that the writer is a woman. If she is, I’ll bet her feet -are cold if she enjoys such things as this: - - When Old Hellinger entered the gable room he saw a sight which - froze the blood in his veins. His son’s body lay stretched on - the ground. As he fell he must have clutched the supports of - the bier on which the dead girl had been placed, and dragged - down the whole erection with him; for on the top of him, - between the broken planks, lay the corpse, in its long, white - shroud, its motionless face upon his face, its bared arms - thrown over his head. At this moment he regained consciousness, - and started up. The dead girl’s head sank down from his and - bumped on the floor. - -This cheerful book is translated from the German by Lily Henkel and -published by the Appletons. I commend it to Mr. Bliss Carman and his -shroud washers. - - * * * * * - -Mr. Thomas B. Mosher, of Portland, Maine, deserves the thanks of the -reading public for the issuing of _The Bibelot_. Each month this -dainty periodical comes like a dash of salt water on a hot day, and -is as refreshing. After reading the longings and the heartburnings of -the various degenerates who inflict their stuff on us these days, Mr. -Mosher’s “Sappho” comes and makes us really believe that there is a man -up on the coast of Maine who has the salt of the sea and the breath of -the pines in him, and is willing to think that there are other people who -care for purity and sweetness, rather than such literature as “Vistas” -and the plays of Maeterlinck. - - * * * * * - -When in five consecutive stories, printed in the same periodical, the -hero or heroine has ended the narrative by shooting himself or herself, -is it not about time to hire somebody to invent some other denouement? - - * * * * * - -Many a man’s reputation would not know his character if they met on the -street. - - * * * * * - -To be stupid when inclined and dull when you wish is a boon that only -goes with high friendship. - - * * * * * - -Every man has moments when he doubts his ability. So does every woman -at times doubt her wit and beauty and long to see them mirrored in a -masculine eye. This is why flattery is acceptable. A woman will doubt -everything you say except it be compliments to herself—here she believes -you truthful and mentally admires you for your discernment. - - * * * * * - -STIGMATA. - - “Behold the miracle!” he cried— - The sombre priest who stood beside - A figure on whose snowy breast - The outlines of a cross expressed - In ruddy life-drops ebbed and flowed; - “Behold th’ imprimatur of God!” - - A kneeling woman raised her eyes; - Lo! At the sight, in swift surprise, - Ere awe-struck lips a prayer could speak - Love’s stigma glowed on brow and cheek; - And one in reverence bent his head— - “Behold the miracle?” he said. - - WILLIAM MCINTOSH. - - * * * * * - -THE MAGAZINES. - -_Kate Field’s Wash_ is dry. - -_The Arena_ has sand. - -“Sub-Tragic” is the latest description of Vic. Woodhull’s _Humanitarian_. - -_McClure’s_ is getting a little weary with its living pictures. - -_Scribner’s_ has a thrilling article on “Books We Have Published.” - -_Godey’s_ is very gay in its second childhood. - -Judge Tourgee’s _Basis_ isn’t business. “It’s pretty, but it isn’t war.” - -_The Century_, it is said, will insert a page or two of reading matter -between the Italian art and the ads. - -_The Basis_ is out with prizes for poets and sermon writers. It was -as certain as the law of nature makes the filling of every vacuum at -some time, that somewhere and at some time these people would get their -reward. It seems to be coming now. But where and when will be the reward -of the people who read what they write? The thought of their fate is all -shuddery. - -Ginger used to be in evidence in magazines and pumpkin pies. Squash is a -prominent ingredient now. - -If _Peterson’s_ wouldn’t mix ads. and reading matter in their books and -on title pages the cause of current literature would be advanced. - -Between Grant’s essays on the art of living and the mild satire of “The -Point of View,” it really looks as if the Tattler had come again—a little -disembodied for Dick Steele, but in character. - - * * * * * - -THE BOK BILLS OF NARCISSUS. - - “Narcissus is the glory of his race, - For who does nothing with a better grace.” - - YOUNG—_Love of Fame._ - - _Narcissus: or, The Self-Lover._ - - JAMES SHIRLEY, 1646. - - * * * * * - - PHILADELPHIA, June 1, 1895. - - W. D. HOWELLS: - - TO EDWARD W. BOK, DR. - - 42 sq. inches in Boiler Plate. “Literary Letter,” on What I - Know of Howells’s Modesty $4 20 - - Mentioning Howells’s name, 730,000 times in same (up to date) 7 30 - - Cussing _Trilby_ (your suggestion) 20 - ------ - $11 70 - -Less 2 per cent. for cash. - -Please remit. - - * * * * * - -Die Heintzemannsche Buchdruckerei - -In Boston, Mass., empfiehlt sich zur geschmackvollen und preiswerten -Herstellung von feinen Druckarbeiten aller Art, als: Schul- und -Lehrbucher in allen Sprachen, Schul-Examinationspapiere, Diplome, -Zirkulare, Preisverzeichnisse, Geschafts-Kataloge u. s. w. Herstellung -von ganzen Werken mit oder ohne Illustrationen, von der einfachsten bis -zur reichsten Ausfuhrung. - -Carl H. Heintzemann, 234 Congress Street, Boston, Mass. - - * * * * * - -WANTED—Books on the History and Mythology of =Sweden=, =Denmark=, -=Norway=, =Lapland=, =Finland=, =Greenland=, =Iceland=, =etc.=, in -any language. Also maps, pamphlets, manuscripts, magazines and any -work on Northern Subjects, works of General Literature, etc. Address, -giving titles, dates, condition, etc., with price, - -JOHN A. STERNE, 5247 Fifth Avenue, Chicago, Ill. - -All kinds of Old Books and Magazines bought. - -*** END OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL OF -PROTEST (VOL. I, NO. 1, JUNE 1895) *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for 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. - -START: FULL LICENSE - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full -Project Gutenberg-tm License available with this file or online at -www.gutenberg.org/license. - -Section 1. General Terms of Use and Redistributing Project -Gutenberg-tm electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg-tm electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg-tm electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the -person or entity to whom you paid the fee as set forth in paragraph -1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg-tm -electronic works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the -Foundation" or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg-tm electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg-tm mission of promoting -free access to electronic works by freely sharing Project Gutenberg-tm -works in compliance with the terms of this agreement for keeping the -Project Gutenberg-tm name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg-tm License when -you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg-tm work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg-tm License must appear -prominently whenever any copy of a Project Gutenberg-tm work (any work -on which the phrase "Project Gutenberg" appears, or with which the -phrase "Project Gutenberg" is associated) is accessed, displayed, -performed, viewed, copied or distributed: - - This eBook is for the use of anyone anywhere in the United States and - most other parts of the world at no cost and with almost no - restrictions whatsoever. You may copy it, give it away or re-use it - under the terms of the Project Gutenberg License included with this - eBook or online at www.gutenberg.org. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase "Project -Gutenberg" associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg-tm -trademark as set forth in paragraphs 1.E.8 or 1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg-tm License for all works -posted with the permission of the copyright holder found at the -beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg-tm work in a format -other than "Plain Vanilla ASCII" or other format used in the official -version posted on the official Project Gutenberg-tm 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-tm License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works -provided that: - -* You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg-tm trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, "Information about donations to the Project Gutenberg - Literary Archive Foundation." - -* You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg-tm - works. - -* You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - -* You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg-tm electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg-tm trademark. Contact the Foundation as set -forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm -electronic works, and the medium on which they may be stored, may -contain "Defects," such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg-tm -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg-tm work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg-tm work, and (c) any -Defect you cause. - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at -www.gutenberg.org - -Section 3. Information about the Project Gutenberg Literary -Archive Foundation - -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state's laws. - -The Foundation's 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 - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm 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. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular -state visit www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg-tm eBooks with only a loose network of -volunteer support. - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. - -Most people start at our website which has the main PG search -facility: www.gutenberg.org - -This website includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |