diff options
| -rw-r--r-- | .gitattributes | 4 | ||||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 | ||||
| -rw-r--r-- | old/68384-0.txt | 1277 | ||||
| -rw-r--r-- | old/68384-0.zip | bin | 25883 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h.zip | bin | 569769 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/68384-h.htm | 1953 | ||||
| -rw-r--r-- | old/68384-h/images/cover-deco2.jpg | bin | 1598 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/cover-issue4.jpg | bin | 9567 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/cover.jpg | bin | 496712 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/deco1.jpg | bin | 1516 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/deco3.jpg | bin | 4762 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/dropcap-a.jpg | bin | 2204 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/dropcap-i.jpg | bin | 1917 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/dropcap-t.jpg | bin | 1728 -> 0 bytes | |||
| -rw-r--r-- | old/68384-h/images/pigs.jpg | bin | 29530 -> 0 bytes |
16 files changed, 17 insertions, 3230 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..cffdedc --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #68384 (https://www.gutenberg.org/ebooks/68384) diff --git a/old/68384-0.txt b/old/68384-0.txt deleted file mode 100644 index 982d7ad..0000000 --- a/old/68384-0.txt +++ /dev/null @@ -1,1277 +0,0 @@ -The Project Gutenberg eBook of The Philistine: a periodical of -protest (Vol. I, No. 4, September 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. 4, September - 1895) - -Author: Various - -Release Date: June 23, 2022 [eBook #68384] - -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. 4, SEPTEMBER 1895) *** - - - - - - - The Philistine - A Periodical of Protest. - - _I have peppered two of them: two I’m sure I have - paid, two rogues in buckram._—KING HENRY IV. - - [Illustration: No. Four.] - - Printed Every Little While - for The Society of The Philistines - and Published by - Them Monthly. Subscription, - One Dollar Yearly - Single Copies, 10 Cents. September, 1895. - - - - -The Philistine. - -Edited by H. P. Taber. - - - - -CONTENTS FOR SEPTEMBER, 1895. - - - The Birth of the Flower. John Northern Hilliard - - A Notable Work. Elbert Hubbard - - The Manners Tart. Clara Cahill Park - - A Matter of Background. William McIntosh - - In Slippery Places. W. - - A Lantern Song. Stephen Crane - - The Rubaiyat of O’Mara Khayvan. W. M. - - Notes. - -THE PHILISTINE is published monthly at $1 a year, 10 cents a single -copy. Subscriptions may be left with newsdealers or sent direct to the -publishers. - -Business communications should be addressed to THE PHILISTINE, East -Aurora, New York. Matter intended for publication may be sent to the same -address or to Box 6, Cambridge, Massachusetts. - -_Entered at the Postoffice at East Aurora, New York, for transmission as -mail matter of the second class._ - -_COPYRIGHT, 1895, by H. P. Taber._ - - - - -THE PHILISTINE. - - NO. 4. September, 1895. VOL. 1. - - - - -THE BIRTH OF THE FLOWER. - - - In the Beginning, God, the Great Workman, - Fashioned a seed; - Cunningly wrought it from waste-stuff left over - In building the stars; - Then, in the dust and the grime of His Workshop, - He rested and pondered— - Then, with a smile, flung the animate atom - Far into space. - - As the seed fell through the blue of the heavens - Down to the world, - Wind, the Great Gardener, seized it in triumph - And bore it away; - Then, at a sign of the Master, who made it, - He planted the seed:— - Thus into life sprang the first of the flowers - On earth. - - —JOHN NORTHERN HILLIARD. - - - - -A NOTABLE WORK. - - -In Mr. Cudahy’s remarkable book entitled _The Pawns of Chance_ there are -Sixteen Women who Did. Its sure success is prophesied on this account, -for of the five novels that have made ten-strikes during the past year -each has contained at least One Woman who Did, and in two instances -Several. - -And right here, before referring further to Mr. Cudahy’s book, I wish to -place on file a modest word of protest concerning the modern sex novel. - -Just now the stage and story-book seem to vie with one another in putting -on parade the Men and Women who Did for the delectation of those who Have -or May. The motif in all these books and plays is to depict the torturing -emotions that wring and tear the hearts of these unhappy mortals. The -Camp of Philistia does not boast that there are in it no People who Did, -neither do we deny the reality of the heartaches and tears that come from -unrequited love and affection placed not wisely. But from a somewhat -limited experience in wordily affairs I arise to say that life does not -consist entirely in these things, and furthermore that the importance -given to the Folks who Have is quite out of proportion to their proper -place with the procession. There are yet loves that are sweet and -wholesome; there are still ambitions that are manly and strong. Let’s -write and talk of these. - -But still even in spite of a morbid plot and many incidents that are -rather bluggy, Mr. Cudahy has produced a work that probably will outsell -any of the other volumes issued by Chicago’s Enterprising Decadent -Publishers. This book has a few positive virtues. Evidently it is a -collaboration. I think the author has employed some exceptionally bright -apprentices and like Dumas the Elder, Mr. Cudahy is to be congratulated -on the rare discrimination shown in choosing his help. In literature, as -in commerce or war, much depends on selecting one’s aides: every good -general must be properly reinforced. - -The prospectus of _The Pawns of Chance_ describes the binding of the book -as “a symphony in pig-skin.” And the volume is certainly very pleasing -to the eye. The paper is hand-made—deckle edge; the illustrations and -etchings on Japan paper; and the portrait of the author that serves as -frontispiece is a genuine work of art. - -The space in THE PHILISTINE at my disposal will not admit of an extended -criticism, so I will briefly trace the plot, and make a few casual -remarks on the more important situations, trusting that my readers will -procure the work and each read for himself. For while its faults are -many, yet there are here and there redeeming features, and in the moral -at the close is a suggestion that is worth one’s while. - -Now for the story: - -James Hunks, known on the bills as Signor De June, was in 1875 proprietor -of a Ballet Troupe. The corps de ballet consisted of sixteen ladies who -were personally selected by Signor De June, and trained by him so that -they performed some very wonderful terpsichorean evolutions. Eight of -these women were blondes and eight brunettes. Surprising to state, none -were over thirty and none under twenty years of age. But they were all -Women who Did—that is to say, Ladies with a Past. - -Not that they were selected on this account; indeed, Signor De June -did not interest himself in their Experiences—he only wanted form and -intellect—but mostly form. Yet a coryphee must have brains, else she -could not learn to conduct her airy shape through the mazy evolutions of -the dance. - -But it came about by degrees that Signor De June learned that all of his -ladies were Ladies with a History. And being a philosopher, he reasoned -it out that the ballet was the only respectable calling that was open to -a woman who had been the victim of misplaced love. Such is the bitter -cruelty of a sham-virtuous society. - -And thus on page 141 Signor De June muses as follows: “Had my ladies been -possessed of homely faces and crusty manners, no temptation could have -come to them, and they would all have lived and died virtuous maidens; or -at best been the contented (or discontented) wives of farmers, molders, -bricklayers or mill hands. But being loving and gracious and sympathetic -and withal beautiful, they have been unfortunate. Furthermore no woman -should ever speak of her virtue unless she hates her husband and loves -another man.” - -So Signor De June was very kind and gentle with these ladies—aye! tender. -He loved them all; he guarded and shielded them from every fierce -temptation. It was a pure paternal love—more properly Platonic. He only -wished to make them happy—that was all. - -They gave exhibitions in the principal cities of the United States and -were everywhere successful. Occasionally a husband or a former lover of -one of these Women who Did would appear upon the scene, and whenever this -happened the Signor, who was a large man and ambi-dextrous, would take -the offender neck and crop and throw him out. This always cooled the most -amorous follower, but it kept Signor De June quite busy. Yet it must -not be thought that the Signor was brutal—far from it: all were welcome -to worship his ladies, but it must be done from the parquette or dress -circle. - -So they were all very prosperous and very happy, until one day the wife -of Signor De June appeared and camped upon his trail. He had gotten an -Indiana divorce from this woman five years before, but the courts had -pronounced it invalid, and now she was upon him neck and crop, just as he -had been upon the lovers and husbands. He tried to explain to her that -he loved the Corps de Ballet, not the ladies individually. He loved them -as a Whole, not singly. Moreover, his love was idyllic—Platonic. The -wife explained that the thing did not exist except in books, and further -stated her belief that the love was Plutonic if anything; and moreover it -must cease. - -No doubt the woman really loved Mr. Hunks. He, too, had a little regard -for her, although they quarrelled. But he was essentially commercial—a -man of peace. He had no stomach for a legal battle with his wife’s -attorneys, who had taken the case on speculation, and he could not run -away. The woman utterly refused to be bought off for a reasonable sum, -and she also declined joining the Ballet herself, in spite of De June’s -assertions that he could love seventeen as well as sixteen, for in love -capacity increases through use. - -“Try it for a month and you will see that it is Platonic,” said De June. - -“I’ve no doubt I’d find it so,” said the wife. - -She still was firm. He must choose between her and the Troupe. If he -chose the Troupe he’d have her, like the poor, always with him. If he -chose her alone she would still resemble the poverty stricken; but there -would come times when vigilance might relax and he could slip a way. - -But what to do with the Troupe! He could not throw these beautiful, -susceptible women on a struggling, seething, wicked world. He could not -put them on a farm, for who would look after, correct, discipline and -restrain them as he had done? If allowed to scatter they would marry, and -marriage according to civilized methods, so-called, was a failure; had he -not tried it? - -But De June was a man of resource (he was from Chicago). They were in -Denver and women were scarce. He would select husbands for his ladies, -himself. - -He did so, choosing sixteen strong fine young miners. Calling the men out -one side, he made known to them his plan. Each man was to have a wife -on payment of the trifling fee of two hundred dollars “matriculation” -(_Sic_). The men were delighted—but had the ladies been consulted? No, -that was not necessary—there was to be a return to primitive methods, -which indeed were ever best: civilization was artificial, unnatural and -corrupt. - -These sixteen ladies were all of fair intelligence, good hearted, able to -work, willing to obey. More than that they had great capacity for loving, -for had not this excess of love been their misfortune? The love only -needed proper direction, like all of our other gifts. - -The sixteen gentlemen that the philosophic De June selected were of fair -intelligence, healthy and good natured, prosperous and all men of fine -physique. There was no choice in the men; there was no choice in the -women; they were on the same intellectual plane—they were well mated -and De June would not defeat the God of Chance by allowing any personal -selection. One man offered a thousand dollars for first choice, but Mr. -Hunks was a man of honor and could not be bought. - -The gentlemen were to be in the parquette. When the ladies appeared on -the stage, at the word “Go” from De June, the sixteen men were to make a -rush for the stage and each seize his future wife. All after the manner -of the Romans who captured the Sabine women—and I guess the Roman Nation -is not to be sneezed at! Cæsar, Antony, Brutus and all the rest of those -honorable men were products of just such marriages. - -The rush was made—the women screamed, some fainted, but each man held -his prize. The electric lights were turned off, the audience got out as -best it could. Then the doors were locked, the curtain dropped and Signor -De June stepped forward and in gentle words assured the sixteen ladies -that no harm should come to them. All had been arranged for the best. -They must be good honest wives, and the men must be good honest husbands, -and Mr. Hunks, being a Justice of the Peace, declared them all man and -wife—that is sixteen wives and sixteen husbands. - -The women, it must be confessed, had grown a trifle weary of the De June -Idyllic Plan; and in the good old-fashioned womanly way, oft in the night -season, each had confessed in her own heart, that one loving husband for -each woman was what Nature intended. So they accepted the situation, -and each began to use those winning ways that Herbert Spencer says are -woman’s weapons: woman conquers through her intuition. - -At a word from De June the women repaired to their dressing rooms and -soon appeared in customary feminine attire. This time the ladies had to -pick their mates, for the change in dress greatly mystified the hirsute -miners. There was a slight scramble among the ladies when three of them -selected the same man, but the Signor soon brought order out of chaos. -This scene, which occurs in chapter XXXIII, is quite dramatic. - -All being amicably settled De June gave each woman a chaste kiss on the -cheek, shook hands with the grateful miners and went sorrowfully back -(with his $3,200.00) to the hotel where his Mary Jane sat up awaiting him. - -That night Mr. Hunks and his wife left for Chicago. There he went into -real estate and was very successful. Having resolved to face his fate, -he treated Mary Jane as gently as he could and she repaid it all in -kindness. So things were really not so bad as the Signor had imagined. - -Ten years passed and Mr. Hunks went back to Denver and found that the -sixteen couples were living happily. Many little pledges had appeared to -cement the bonds. All were content and perfectly mated, although several -of the men were a bit henpecked—but a man soon gets used to such things. -(See page 491, line 16). The women having had Experience were resolved to -hold their new found mates with love’s own bonds; and the men fearing to -lose such beautiful treasures were ever kind. There was a little doubt in -the minds of all concerning De June’s commission as Justice of the Peace, -and then certain requirements of the divorce courts had not been fully -met, but these irregularities put all on their good behavior. For it is -a fact that if a mortal knows that his mate cannot get away he is often -severe and unreasonable. - -And the curious part of all this is that the story is true. Mr. Cudahy -protests it on his honor, and declares that these sixteen worthy couples -laid the foundation for the elite of Denver society, and are now the -leading lights in that beautiful city. - -The story is somewhat marred by such ungrammatical expressions as “has -came,” “shouldn’t ought,” etc. There are also a needless number of French -and Latin phrases, culled from a lexicon I fear, and a striving after -Latin derivatives. It is also a pity that more pains was not taken with -the proof reading, as exasperating errors are on nearly every page. Still -these are minor points. - -In the last four chapters there is considerable symbolism, which one -cannot but wish had been put in plain English. Like Zangwill’s _The -Master_, the moral is left for the last. It is a little clouded, but I -take it that Mr. Cudahy believes that civilization’s plan of selection -is very faulty. He suggests indirectly that Congress should appoint -Matrimonial Commissioners for each district—men of discretion, experience -and judgment. The Commissioner is to select from society sixteen -marriageable young women and place them in a room, and then take a like -number of young men and let them make a rush, and this, says Mr. Cudahy, -would doubtless do away with many of our matrimonial misfits. - -Lovers of literature will look anxiously for Mr. Cudahy’s next book, -and in the meantime I am sure that the Young Decadents will reap a rich -harvest from _The Pawns of Chance_. I am in receipt of a letter from the -distinguished author wherein he says that he is positively declining all -invitations to lecture in the provinces, but that he may appear late in -the season in a few of our principal cities. - -It may interest the Philistines to know that R. G. Dun & Co. rate Mr. -Cudahy Z Z xxx 1, while Hobart Chatfield-Chatfield Taylor is only Y x 2 -3·4 and Mrs. Reginald De Koven ranks K x 4. At the present moment I can -recall but two residents of Grub Street who have ratings so high as Mr. -Cudahy, these being William Waldorf Astor and Walter Blackburn Harte. - - ELBERT HUBBARD. - - - - -THE MANNERS TART. - - -An old and worn out Tart once sat on the pantry shelf and as it dried and -stiffened, thus it soliloquized: “In my youth men fought over me, not to -possess me, but that each should pass me to his neighbor. - -“I was a fair Tart, greatly to be prized, but the manners of all were -such that I was left alone on the table, the last of my kind, the -Manners Tart, and they all withdrew, feigning indifference. - -“The cook, having made many of my brethren, cared not for me, so I, -created to rejoice the soul of man, sit here, a cold and cheerless thing -at which the rats gnaw nightly. - -“There was a little boy at the table, but why speak of him? He stretched -out his hand for me, but detecting a slight frown between the eyebrows of -his mother, he withdrew it and my chance was gone. - -“The little boy was the only one that sympathized with me; he knew that a -Tart is short lived at best; that the only modest ambition of a Tart is -to gladden some one in life and to overhear a few words of praise as it -passes away. - -“But alas! I am a failure, and all because I move in a circle that makes -a merit of self-sacrifice. I do not understand such things, but——” -here a pang of mold struck to the Tart’s heart and it relapsed into -unconsciousness. - -If it had understood it would have said—“there are many joys in the world -that die unrejoiced over because no man will have the courage to do what -he wants to do.” - - CLARA CAHILL PARK. - -DETROIT, August, 1895. - - - - -A MATTER OF BACKGROUND. - - -If the war in the extreme East just ended has done no more for humanity, -it has demonstrated the unfitness in these days of a nation that has no -perspective. Philosophers we have had, and eke reformers, who saw no -farther than their noses. But here is a great people whose polity is -exclusive, whose art recognizes no relation of distance, whose social -code is rigidly formal and openly mercenary, whose methods in war -consisted up to a late date of noise and stenches and hideous banners -designed to frighten an enemy. With rare powers of detail, the art of -China is lifeless and without spirituality or suggestive force. With -centuries of training in literary industry, its lore is the elaborate -repetition of didactic sayings thousands of years old. There is no -background in its pictures. There is no constructive basis in its social -theory. All is flat surface, repression, imitation. Yet here is the -oldest nation in the world in continuous history. We need not wonder it -has fallen at last. The marvel is that it stood so long. The student of -history may well ask what has held back destroying hands through so many -centuries of the world’s unrest. - -Lack of a sense of proportion and distance is not peculiar, however, to -Orientals. Even in the light of western civilization philosophers have -forgotten yesterday and to-morrow, and the foreground has usurped the -canvas. Impatience is a sign of modern degeneration if the oracle who has -a caveat on that warning is good authority. It is strange to find in the -prophet himself the fault he attributes to our time. For in all ages the -world has been on the point of going to the dogs, according to some voice -crying in the wilderness or on the house tops, as he is crying now. From -Jonah warning luxurious Nineveh down to Max Simon Nordau listing crooked -ears as the breeder counts his cross-billed chicks as proof that the race -is “running out,” the warning has been unceasing. And yet the race lives, -and builds on its ruins. - -Our nerves have worn us out, according to Mr. Nordau. If Count Tolstoi -knows, amatory passion is the cause of the wreck, and high feeding back -of that. If Mr. Ibsen is right, artificiality has destroyed the virtues. -M. Zola is sure that bestiality has brought judgment upon at least one -modern Sodom. Mynheer Maartens is Philistine enough to ascribe most of -our ills to repression of sincerity, of naturalness in social life. And -so a score of doctors describe special symptoms, each empirically, each -truthfully. The wisest of them—those who have a sense of perspective—see -beyond the immediate ailment the persistent vitality which is never -wholly conquered. - -We have specialized philosophy and literature as we have medicine. -These are not quacks who tell us the world is going to wreck through -the extravagances of society, through the repression of humanities, -through the lusts of gross living. They are students of particular phases -of distemper. The world, not the men in its clinics, is to blame when -it hails each as a cure-all. The realism of a Zola or a Nordau is not -a finality. While the knife is in hand the ulcer is pre-eminently in -evidence. Its removal is the business in order. But the genius of a Zola -that divines the cancer in the vitals of society presupposes the life -that is behind it—and that is the main factor in his surgery. - -He would be a false teacher who should put the immediate in the place -of the permanent in any such calculation. The world that listens has an -equal responsibility. The greatest artist can only paint passing phases -of the limitless evolution going on about him. It is heresy in itself -fatal to put a phase in the place of the infinite process. Grant that -society is always at war with itself, always repressing truth, always -promoting animalism by its very more or less disguises. The paradox of -these results can never be wholly escaped. The teacher who sees what is -and was in due proportion will judge what is to be, though no son of a -prophet. The new realism for which Philistines contend is no expose of -the evils of modern society, no uncovering of a witch’s pot. It holds all -these manifestations in perspective, but substitutes none of them for -a general view of life and human destiny. It would make health instead -of disease infectious, substituting for blind Oriental imitation a -truer standard of custom, freer from convention that has no warrant of -purpose, more direct in its expression of natural and normal vitality -in personal living and thinking. “From within outward,” is its motto. -It would depose and outgrow self-consciousness—the vampire fungus that -signalizes arrested development and decay in thought or in letters or in -the self-projection of social life. The realism of the Philistines is -manifested in the recognition of healthy life that we find in some of the -new literature—in the heroic romance of Anthony Hope, in the charming -tenderness and sweetness of Maartens’s Hollandais and in the fresh-witted -islanders, full of arterial blood, of Hall Caine and the wizard who lies -buried on the mountain top of his own beloved island—that second one to -the left after you leave San Francisco. - -Even the modern stage, corrupted by French intensities and the commercial -idea of filling the house, is showing signs of a reaction. Not more than -nine-tenths of the standard attractions of the coming season are based on -infractions of the seventh commandment or of that similar law which every -chivalrous man knows, though it was never traced in fire on the Sinaitic -stone. - - WILLIAM MCINTOSH. - - - - -IN SLIPPERY PLACES. - - “Publish it not in the streets of Askelon lest the daughters of - THE PHILISTINES rejoice.” - - -The publishers of the _Chap Book_ of July 15th have kept their promise -to furnish original matter in one way perhaps not contemplated when they -made mention of that booklet in their catalogue. - -We can rest assured that Tacitus never wrote “emperasset” in the sentence -quoted on page 174; we shall be slow to believe that the author of _The -Children of the Ghetto_, in confusion of mind was referring empire and -empirical to a common origin, mixing up the sons of Aeneas and Danaos -after the fashion of Little Buttercup. - -With perhaps a trifle less confidence we may acquit him of dragging into -notice as a prominent name in English letters the hitherto obscure or -wholly mythical “Carlysle,” who figures on page 177. But in excusing the -writer from the fatherhood of these literary foundlings we are compelled -to look to the publishers or at least to their proof-reader as the -responsible man, a sense of decency no less than the requirements of this -metaphor, repudiates the suggestion that he might after all turn out to -be a woman, and whether the reproach belong at the door of the principals -or of the workman is quite immaterial to us, the house must stand the -breakage of glassware, not the bartender. - -A matter of two typographical errors within the space of a single short -article may seem but trifling subject for comment in a world where the -surest footed at times slip, but one or two considerations make even such -venial sins fit objects for animadversion. The publishers of the little -fortnightly, in the manner of their issues if not in so many words, -set themselves up, in a fashion, as guides in the matter of literary -elegance, it behooves them therefore to take heed that the unwary be -not led astray. “Who drives fat oxen should himself be fat,” nor should -the venerable name of Caxton be made a laughing-stock in the mouths of -scoffers. - - W. - -SAN FRANCISCO, August, 1895. - - * * * * * - -TO MARK TWAIN: I am awfully sorry you have lost all your money. I am in -the same boat, but let’s not talk about it all the time. - - - - -A LANTERN SONG. - - - EACH SMALL GLEAM WAS A VOICE - —A LANTERN VOICE— - IN LITTLE SONGS OF CARMINE, VIOLET, GREEN, GOLD. - A CHORUS OF COLORS CAME OVER THE WATER, - THE WONDROUS LEAF-SHADOWS NO LONGER WAVERED, - NO PINES CROONED ON THE HILLS, - THE BLUE NIGHT WAS ELSEWHERE A SILENCE - WHEN THE CHORUS OF COLORS CAME OVER THE WATER, - LITTLE SONGS OF CARMINE, VIOLET, GREEN, GOLD. - - SMALL GLOWING PEBBLES - THROWN ON THE DARK PLANE OF EVENING - SING GOOD BALLADS OF GOD - AND ETERNITY, WITH SOUL’S REST. - LITTLE PRIESTS, LITTLE HOLY FATHERS, - NONE CAN DOUBT THE TRUTH OF YOUR HYMNING - WHEN THE MARVELOUS CHORUS COMES OVER THE WATER, - SONGS OF CARMINE, VIOLET, GREEN, GOLD. - - STEPHEN CRANE. - - - - -THE RUBAIYAT OF O’MARA KHAYVAN. - -ERIN (IRAN?) YEAR OF THE HEGIRA 94—VIA BROOKLYN. - - - Wake! for the night that lets poor man forget - His daily toil is past, and in Care’s net - Another day is caught to gasp and fade; - Oh, but my weary bones are heavy yet! - - Wake! son of kings that bears a hod on high, - And builds the world. The red sun mounts the sky - And circles squares in the cot’s every chink - And gilds ephemeral motes that whirl and die. - - Wake! for the bearded goat devours the door! - And now the family pig forbears to snore, - And from his trough sets up the Persian’s cry— - “Eat! drink! To-morrow we shall be no more!” - - Eat, drink and sleep! Aye, eat and sleep who can! - I work and ache. The beast outstrips the man; - And when oblivion bids the sequence end, - Which shall we say has best filled nature’s plan? - - When on Gowanus’ hills the whistle blows - What dreams are mine of Hafiz’ wine-red rose? - And when I drag my leaden feet toward home - No sensuous bulbul note woos to repose. - - I envy the dull brute my hand shall slay. - He lifts no stolid eye above the clay. - I, longing, on the cloud-banked verge discern - “Unborn To-morrow and dead Yesterday.” - - What is the Cup to lips that may not drain? - Or fleeting joy to lives conceived in pain? - Toil and aspire is still the common lot, - Stumbling to rise and rising fall again. - - And is this all? Shall skies no longer shine, - Or stars lure on to themes that seem divine? - Ah, Maker of the Tents! is this thy hope— - To feed and grovel and to die like swine? - - W. M. - - - - -SIDE TALKS WITH THE PHILISTINES: BEING SUNDRY BITS OF WISDOM WHICH HAVE -BEEN HERETOFORE SECRETED, AND ARE NOW SET FORTH IN PRINT. - - -To Robert Cameron Rogers: You are keeping the stage waiting. - - * * * * * - -My friend with the Sharp Scissors which edit the Table Talk column -of the Buffalo _Commercial_ had a few words to say the other evening -regarding success. He alleged that Mr. Bok and Richard Harding Davis were -successful men, and that it was the pleasure of unsuccessful people to -jump on them mercilessly. I dislike to disagree with Mr. Quilp, but it -seems to me that he belongs to that class of people who habitually miss -the point of things. - -The story in _Gil Blas_ of the strolling player—true to what he deemed -his art—working with commendable if misdirected energy, walking from town -to town, and as he walked soaking his dry crusts in the water of wayside -wells—this were a story of success. Success, it seems to me, lies not so -much in having one’s name a commonplace among this great American public, -which falls down to worship mediocrity if it is well advertised, as in -doing one’s day’s work honestly and sincerely. To sing a song that finds -its way into the hearts of men; to act a part that helps another toward -his happiness, and do it all without blare of trumpets and jangle of -hurdy-gurdy; and then walk on to the next town, stopping by the roadside -wells to soak a dry crust in cool water, or, perhaps, a fresh cake in -a mug of Bass as occasion served, and then, at the end, to lie down -quietly, listening to the singing by the people of one’s own songs—though -they know it not—presents a picture of a perfect harmony. This is the -preachment of Stevenson and of men before him, and until a better one may -be advanced this will serve. I would rather have written _The Pavilion -on the Links_ than _Successward_, or even Mr. Davis’s masterpiece, _Van -Bibber and the Swan Boats_. Still, it is a matter of taste, and if one -likes lactated food, roast mutton is bad for his stomach. - - * * * * * - -According to the prospectus Mr. Cudahy’s book fairly bristles with -epigram: the bristles alone are said to be worth the money. - - * * * * * - -Probably Lawrence Hutton knows more about death masks than any living -man. I cheerfully grant him this honor, but when he writes the -advertising pages in _Harper’s_ and springs them on an unsuspecting -public as “Literary Notes,” I rebel. Rebellion is not, however, confined -to mere objection to his sailing under false colors, but to such -sentences as these from a recent number of _Harper’s_: - - “_Beyond the Dreams of Avarice_ is not as _amusing_ as an - entertaining story, but it is intensely interesting from - beginning to end. No one who picks it up for an evening’s - _amusement_ will be likely to lay it down unfinished or to lay - it aside for any other form of current _entertainment_.” - -The italics are mine, and are put in simply to emphasize the occult -meaning of Mr. Hutton, who belongs to the class which assumes to set the -literary pace of the world. I doubt if Brander Matthews could do worse. - - * * * * * - -The portrait of Mr. Cudahy that is used as a frontispiece in his new book -is a photograph from the original chromo, signed by the electrotyper. - - * * * * * - -It is reported to me that quite a large section of the Metropolitan -colony sing their jubilate this way: “It is Howells that hath made us and -not we ourselves—We are his people and the sheep of his pasture.” - - * * * * * - -“Papa,” said the smart boy at dinner, “does consomme mean consumed?” - -“No, my son,” said the philologic pa, “consomme is from a Latin word, -_summum_—all—and comes to us via the French. It means ‘all together’—the -same as the Trilby pose.” And there was silence for the space of four -seconds. - - * * * * * - -Somebody has sent me the prospectus of a magazine shortly to be published -in Cincinnati. In spite of rumors to the contrary THE PHILISTINE will -continue publication. Even _The Century_, although frightened, will let -advertising contracts as heretofore. THE PHILISTINE, and supposedly -other magazines, base their hopes of a longer existence not on their -equal worth—for lo! it is but timorously we draw breath after reading -this prospectus—but knowing that the new magazine will be keyed to so -exquisite a pitch of literary supremacy that only a few from the world -erudite may revel in such a rarified atmosphere. The birth of the -periodical—from the prospectus—fittingly closes this momentous era. -Evolution, hitherto satisfied with minute gradations, now forges ahead -in a stupendous leap; we are diatoms, we scratch rudely on bones, and -live in caves; we still bag the mastodon with embryonic pitfall, we shave -with a shell and are only paleozoic microbes in a literary miocene age. -We are mental fossils clogged in stratified oblivion—but we can’t help -it, we are rudimentary and still possess some basal instincts such as -love, religion, love of beauty and the like. But we never imagined how -infinitesimal we were until the coming of that fatal prospectus. Now we -realize that the groaning of the world, the extraordinary upheaval of the -age, the quickening of the leaven, the quaking of the Zeit Gheist were -but the premonitory travaillings of eternity before the awful nativity of -this infant from Over-the-Rhine. The veil of our temple is rent and our -suspenders are in hock. Mighty Spirit of the æons have mercy on us! we -are worms! moribund, senile old things. Our ears are sessile, yet we hear -the portents. In this hackneyed, conventional, sterile age somebody is -going to be original! Prostrate we make obeisance. Spare us Original that -is to be—spare us! But who t’ell started this Literary Fresh Air Fund, -anyway? - - * * * * * - -“Three generations from the soil” may be a good rule of social -eligibility after all. I know a family in one of our great lake cities -which has ruled society therein for half a lifetime and it is only two -removes from the mud. But savagery will crop out now and then, despite -all the austerities of social custom and the perpetual effort to reach -the calm of Nirvana and look as if life was a doosid bore. The delight -of these, as of all savages, is to astonish the natives. When it can be -done by driving a loping team of circus horses down the chief avenue of -the city, that suffices. Another pet trick is to mass the family on the -porch of the wooden-castled mansion on a Sunday morning and take their -pictures in group, in full view of worshippers returning from church. The -suggestion of a Ute reservation at such times is complete. When these -fail to create a sensation, a yellow tally-ho driven madly through the -narrowest streets of the Quartier Teuton, scattering dogs and babies, -with whoops and horns and the mottled circus horses in the lead, does the -business. It isn’t so long since the richest of our American nobility -showed the craven blood of the materialistic sons of the bush, to whom -brute life is everything. The American-English duel that failed is still -an unpleasant memory. I mention these things only to illustrate the -paradox of our days. We do labor hard to get rid of the joy of living -and we call the new state culture and repose, when we get it. But the -storage of force is a poor thing. It breaks out in abnormal ways and the -acquisitive father is punished in his degenerate children to the third -and fourth generation sometimes—and usually to the second. - - * * * * * - -I have received the second volume of _Moods_, which my Philadelphia -correspondent calls _Sulks_. It is a retrograde from the first number in -that in some places the printing is on both sides of the leaf. I had hope -that _Moods_ would continue its good work and in the second number leave -both sides blank. As it is, however, I commend the first volume to that -eminent figurer, Mr. Edward Atkinson of Boston, who may use the blank -sides upon which to calculate what the other pages are good for. By the -way, the announcement of the second volume contains a description of the -type used, which is a reprint of the typefounder’s circular concerning -the Jenson type. I would imagine that some of the geniuses of _Moods_ -could have at least written an original circular. The prospectus of the -second volume contains a list of one hundred and seventeen stars—geniuses -of the first magnitude—still as my friend of the _Picayune_ says, “Though -they twinkle, twinkle, twinkle, we wonder what they are.” - - * * * * * - -If McClure can give us more such exquisite stories as the Zenda tale -in the August number, a good deal of reminiscent literature and living -documents may be pardoned. Hope is better than memory, Mr. McClure. - - * * * * * - -Mr. Frank A. Munsey, who prints a picture book, of which eleven million -copies are sold every four weeks, declares in a shrill, throaty falsetto -that American literature at present is so and so; and that in the future -he proposes to have it _so_. Mr. Oppenheimer of Rochester has not yet -been heard from. - - * * * * * - -I hope no one suspects me of any disrespect toward Mr. Ham Garland of the -Chicago Stock Yards, heretofore noticed in these columns. A correspondent -reminds me that Mr. G. is favorably mentioned in the oldest records. The -historian of the creation remarks “And Ham was the father of Canaan.” - - * * * * * - -Chicago’s _Echo_ should be successful. It is taking from the foreign -periodicals their very best of picturings and giving us a taste of the -delightful fun of _Fliegende Blætter_, _La Rire_, and the rest—a fun -which somehow we cannot produce in America, so _Puck’s_ artists and those -of _Judge_ and a few others borrow the ideas and we pat ourselves on the -back and say what a keen sense of humor we have. We are very funny—we -Americans—funnier, by long odds, than we think. I notice, too, that _The -Echo_ knows another good thing when it sees it, so the editors have -made the printers use my pet grape leaves for the beginnings of their -paragraphs. For this compliment to my taste I thank _The Echo_. - - * * * * * - -What we are coming to in poetry is always a fascinating theme—like biking -in the dark on a strange road. But what we are going away from is more -satisfactory to contemplate. It is pleasant to think that Homer, the -blind minstrel, and Omar, the tent maker, are fixed facts. They are the -poles of verse—one standing for the heroic and romantic, self-unconscious -and buoyant, the other for vampire introspection and fatalism which -mistakes interior darkness for an eclipse of the universe. It is also -consoling to know that such poetry as Francis Saltus Saltus’s “Dreams -After Sunset” and Duncan Campbell Scott’s yawp in the August number has -been written—for they won’t have to be written again. - - * * * * * - -Judge Grant, in commenting on the ways of the Summer Girl in the July -_Scribner’s_, says that after her return to her own particular vine and -fig-tree she has, among other perplexities, “a considerable uncertainty -in her mind as _to whom she is engaged to_.” This is in form somewhat -similar to the reporter who said the victim of the trolley accident was -killed fatally dead. - - * * * * * - -According to Mr. F. Hopkinson Smith, who parts his name in the middle and -therefore ought to know, “Abbey in his art really has done what Wagner -has done in music, Tennyson and the poets in verse.” He says so in the -current _Scribner’s_. Tennyson “and” the poets is so kind—with accent on -the “so.” The author of “Locksley Hall” ought to come back to Lily Dale -or somewhere and thank Mr. Hopsmith. - - * * * * * - -The style of whiskers formerly called “Dundreary,” is now known as “The -Wind in the Clearing.” - - * * * * * - -I have received from the Department of Agriculture an envelope labelled -“Official Business—Penalty for Private Use $300.” Stamped across the face -in red ink is the autograph of Hon. D. N. Lockwood. Inside this envelope -was one still smaller which bore this inscription: - - +----------------------------------------+ - | U. S. Department of Agriculture. | - | | - | FORGET-ME-NOT. | - | | - | Blue. | - | | - | A half-hardy perennial. It prefers | - | a moist situation, is easily grown and | - | blooms early. | - +----------------------------------------+ - -If I remember correctly Mr. Lockwood Ran for something during last fall’s -campaign. I wonder what he is going to Run for next that he wishes to be -remembered. - - * * * * * - -New York rejoices in the possession of a magazine for rich people. It is -called _Form_, and it tells all about the first families—Knickerbockers -and others—and what they do to be decent. I understand it proposes -to offer prizes after the manner of Judge Tourgee’s _Basis_ for the -cleverest paraphrase of the second verse in Genesis. The historian of -creation declares that on the first day “the earth was without _Form_, -and void.” It’s a great “ad.” - - * * * * * - - In - Praising poetry of William Morris - And Stephen Crane - Were you poking fun? - I hope ’twas so: - For - You must perceive - That those slashed and mangled lines - Do no more resemblance bear - To true poetry - Than hacked and shattered corpse - On battle field - Bears - To a perfect man, - Whose form divinely fair - Fitly enfolds feelings consummate - Against such lines— - And in fact ’gainst all your verse, - I do - Protest. - - NELSON AYRES. - -NEW ORLEANS, Aug. 15, ’95. - - * * * * * - -[Illustration] - -At the Publishers’ Convention recently held in San Francisco the -delegates were treated to a steamboat ride down the bay where a picnic -was held. Police were on hand to see that the delegates did not all rush -down a steep place into the sea and perish in the waters. - -*** END OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL OF -PROTEST (VOL. I, NO. 4, SEPTEMBER 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. diff --git a/old/68384-0.zip b/old/68384-0.zip Binary files differdeleted file mode 100644 index bc9126a..0000000 --- a/old/68384-0.zip +++ /dev/null diff --git a/old/68384-h.zip b/old/68384-h.zip Binary files differdeleted file mode 100644 index 34c2ac1..0000000 --- a/old/68384-h.zip +++ /dev/null diff --git a/old/68384-h/68384-h.htm b/old/68384-h/68384-h.htm deleted file mode 100644 index 0960d09..0000000 --- a/old/68384-h/68384-h.htm +++ /dev/null @@ -1,1953 +0,0 @@ -<!DOCTYPE html> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta charset="UTF-8" /> - <title> - The Project Gutenberg eBook of The Philistine: a periodical of protest (Vol. I, No. 4), by Various. - </title> - - <link rel="icon" href="images/cover.jpg" type="image/x-cover" /> - - <style> /* <![CDATA[ */ - -a { - text-decoration: none; -} - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1,h2 { - text-align: center; - clear: both; -} - -h2.nobreak { - page-break-before: avoid; -} - -h2.hanging { - text-align: justify; - clear: none; - padding-left: 2em; - text-indent: -2em; -} - -hr { - clear: both; -} - -hr.chap { - margin-top: 2em; - margin-bottom: 2em; - width: 65%; - margin-left: 17.5%; - margin-right: 17.5%; -} - -div.chapter { - page-break-before: always; -} - -p { - margin-top: 0.5em; - text-align: justify; - margin-bottom: 0.5em; - text-indent: 1em; -} - -p.dropcap { - text-indent: 0em; -} - -img.dropcap { - float: left; - margin: 0 0.5em 0 0; -} - -p.dropcap:first-letter { - color: transparent; - visibility: hidden; - margin-left: -0.9em; -} - -img.inline { - max-height: 1em; - vertical-align: middle; -} - -table { - margin: 1em auto 1em auto; - max-width: 40em; - border-collapse: collapse; -} - -td { - padding-left: 0.25em; - padding-right: 0.25em; - vertical-align: top; -} - -.tdl { - text-align: left; - padding-top: 0.25em; -} - -.tdr { - text-align: right; - white-space: nowrap; - padding-bottom: 0.25em; -} - -.blockquote { - margin: 1.5em 10%; -} - -.boxdots { - margin: 1em auto; - border: 3px dotted black; - padding: 0.5em; - max-width: 25em; -} - -.center { - text-align: center; - text-indent: 0em; -} - -.figcenter { - margin: auto; - text-align: center; -} - -.figleft { - float: left; - clear: left; - margin-left: 0; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 3em; - padding: 0; - text-align: center; -} - -.hanging { - padding-left: 2em; - text-indent: -2em; -} - -.larger { - font-size: 150%; -} - -.max30 { - margin: auto; - padding: 0.5em; - max-width: 30em; -} - -.noindent { - text-indent: 0em; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.poetry-container { - text-align: center; - margin: 1em; -} - -.poetry { - display: inline-block; - text-align: left; -} - -.poetry .stanza { - margin: 1em 0em 1em 0em; -} - -.poetry .verse { - padding-left: 3em; -} - -.poetry .indent0 { - text-indent: -3em; -} - -.poetry .indent2 { - text-indent: -2em; -} - -.poetry .indent4 { - text-indent: -1em; -} - -.right { - text-align: right; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.allsmcap { - font-variant: small-caps; - font-style: normal; - text-transform: lowercase; -} - -.spacer { - margin-left: 5em; - margin-right: 5em; -} - -.subhead { - margin: 1em auto; - max-width: 30em; - border-top: thin solid black; - border-bottom: thin solid black; - padding: 0.25em; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -.x-ebookmaker .poetry { - display: block; - margin-left: 1.5em; -} - -.x-ebookmaker .blockquote { - margin: 1.5em 5%; -} - -.x-ebookmaker img.dropcap { - display: none; -} - -.x-ebookmaker p.dropcap:first-letter { - color: inherit; - visibility: visible; - margin-left: 0; -} - - /* ]]> */ </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of The Philistine: a periodical of protest (Vol. I, No. 4, September 1895), 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: The Philistine: a periodical of protest (Vol. I, No. 4, September 1895)</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: June 23, 2022 [eBook #68384]</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: 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.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL OF PROTEST (VOL. I, NO. 4, SEPTEMBER 1895) ***</div> - -<div class="max30"> - -<p class="center larger"><span class="larger">The Philistine</span><br /> -A Periodical of Protest.</p> - -<div class="subhead"> - -<p><i>I have peppered two of them: two I’m sure I have -paid, two rogues in buckram.</i>—<span class="smcap">King Henry IV.</span></p> - -</div> - -<div class="figleft"> -<img src="images/cover-issue4.jpg" width="160" height="200" alt="No. Four." /> -</div> - -<p class="noindent">Printed Every Little While -for The Society of The Philistines -and Published by -Them Monthly. Subscription, -One Dollar Yearly -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /></p> - -<p class="noindent">Single Copies, 10 Cents. September, 1895. -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /> -<img class="inline" src="images/cover-deco2.jpg" alt="" /></p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<h1>THE PHILISTINE.</h1> - -<p class="center">Edited by H. P. Taber.</p> - -<h2 class="nobreak">CONTENTS FOR SEPTEMBER, 1895.</h2> - -</div> - -<table> - <tr> - <td class="tdl"><a href="#THE_BIRTH_OF_THE_FLOWER">The Birth of the Flower.</a></td> - </tr> - <tr> - <td class="tdr">John Northern Hilliard</td> - </tr> - <tr> - <td class="tdl"><a href="#A_NOTABLE_WORK">A Notable Work.</a></td> - </tr> - <tr> - <td class="tdr">Elbert Hubbard</td> - </tr> - <tr> - <td class="tdl"><a href="#THE_MANNERS_TART">The Manners Tart.</a></td> - </tr> - <tr> - <td class="tdr">Clara Cahill Park</td> - </tr> - <tr> - <td class="tdl"><a href="#A_MATTER_OF_BACKGROUND">A Matter of Background.</a></td> - </tr> - <tr> - <td class="tdr">William McIntosh</td> - </tr> - <tr> - <td class="tdl"><a href="#IN_SLIPPERY_PLACES">In Slippery Places.</a></td> - </tr> - <tr> - <td class="tdr">W.</td> - </tr> - <tr> - <td class="tdl"><a href="#A_LANTERN_SONG">A Lantern Song.</a></td> - </tr> - <tr> - <td class="tdr">Stephen Crane</td> - </tr> - <tr> - <td class="tdl"><a href="#THE_RUBAIYAT_OF_OMARA_KHAYVAN">The Rubaiyat of O’Mara Khayvan.</a></td> - </tr> - <tr> - <td class="tdr">W. M.</td> - </tr> - <tr> - <td class="tdl"><a href="#SIDE_TALKS_WITH_THE_PHILISTINES">Notes.</a></td> - </tr> -</table> - -<div class="max30"> - -<p><span class="smcap">The Philistine</span> is published monthly at $1 a -year, 10 cents a single copy. Subscriptions may be -left with newsdealers or sent direct to the publishers.</p> - -<p>Business communications should be addressed to -<span class="smcap">The Philistine</span>, East Aurora, New York. Matter -intended for publication may be sent to the same -address or to Box 6, Cambridge, Massachusetts.</p> - -<p class="center"><i>Entered at the Postoffice at East Aurora, New York, for transmission -as mail matter of the second class.</i></p> - -<p class="noindent"><i>COPYRIGHT, 1895, by H. P. Taber.</i></p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_105"></a>[105]</span></p> - -<h2 class="nobreak">THE PHILISTINE.</h2> - -</div> - -<div class="subhead"> - -<p class="center"><span class="allsmcap">NO. 4.</span> <span class="spacer">September, 1895.</span> <span class="allsmcap">VOL. 1.</span></p> - -</div> - -<div class="chapter"> - -<h2 class="nobreak" id="THE_BIRTH_OF_THE_FLOWER">THE BIRTH OF THE FLOWER.</h2> - -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">In the Beginning, God, the Great Workman,</div> - <div class="verse indent4">Fashioned a seed;</div> - <div class="verse indent0">Cunningly wrought it from waste-stuff left over</div> - <div class="verse indent4">In building the stars;</div> - <div class="verse indent0">Then, in the dust and the grime of His Workshop,</div> - <div class="verse indent4">He rested and pondered—</div> - <div class="verse indent0">Then, with a smile, flung the animate atom</div> - <div class="verse indent4">Far into space.</div> - </div> - <div class="stanza"> - <div class="verse indent0">As the seed fell through the blue of the heavens</div> - <div class="verse indent4">Down to the world,</div> - <div class="verse indent0">Wind, the Great Gardener, seized it in triumph</div> - <div class="verse indent4">And bore it away;</div> - <div class="verse indent0">Then, at a sign of the Master, who made it,</div> - <div class="verse indent4">He planted the seed:—</div> - <div class="verse indent0">Thus into life sprang the first of the flowers</div> - <div class="verse indent4">On earth.</div> - </div> - <div class="stanza"> - <div class="verse right">—<span class="smcap">John Northern Hilliard.</span></div> - </div> -</div> -</div> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<div class="chapter"> - -<h2 class="nobreak" id="A_NOTABLE_WORK">A NOTABLE WORK.</h2> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="60" alt="" /> -</div> - -<p class="dropcap">In Mr. Cudahy’s remarkable book entitled -<i>The Pawns of Chance</i> there are Sixteen Women -who Did. Its sure success is prophesied on this account, -for of the five novels that have made ten-strikes<span class="pagenum"><a id="Page_106"></a>[106]</span> -during the past year each has contained at least One -Woman who Did, and in two instances Several.</p> - -<p>And right here, before referring further to Mr. -Cudahy’s book, I wish to place on file a modest word -of protest concerning the modern sex novel.</p> - -<p>Just now the stage and story-book seem to vie with -one another in putting on parade the Men and -Women who Did for the delectation of those who -Have or May. The motif in all these books and -plays is to depict the torturing emotions that wring -and tear the hearts of these unhappy mortals. The -Camp of Philistia does not boast that there are in it -no People who Did, neither do we deny the reality -of the heartaches and tears that come from unrequited -love and affection placed not wisely. But from a -somewhat limited experience in wordily affairs I arise -to say that life does not consist entirely in these -things, and furthermore that the importance given to -the Folks who Have is quite out of proportion to -their proper place with the procession. There are -yet loves that are sweet and wholesome; there are -still ambitions that are manly and strong. Let’s -write and talk of these.</p> - -<p>But still even in spite of a morbid plot and many -incidents that are rather bluggy, Mr. Cudahy has -produced a work that probably will outsell any of the -other volumes issued by Chicago’s Enterprising Decadent<span class="pagenum"><a id="Page_107"></a>[107]</span> -Publishers. This book has a few positive virtues. -Evidently it is a collaboration. I think the -author has employed some exceptionally bright apprentices -and like Dumas the Elder, Mr. Cudahy -is to be congratulated on the rare discrimination -shown in choosing his help. In literature, as in commerce -or war, much depends on selecting one’s -aides: every good general must be properly reinforced.</p> - -<p>The prospectus of <i>The Pawns of Chance</i> describes -the binding of the book as “a symphony in pig-skin.” -And the volume is certainly very pleasing to -the eye. The paper is hand-made—deckle edge; -the illustrations and etchings on Japan paper; and -the portrait of the author that serves as frontispiece is -a genuine work of art.</p> - -<p>The space in <span class="smcap">The Philistine</span> at my disposal will -not admit of an extended criticism, so I will briefly -trace the plot, and make a few casual remarks on -the more important situations, trusting that my -readers will procure the work and each read for -himself. For while its faults are many, yet there are -here and there redeeming features, and in the moral -at the close is a suggestion that is worth one’s while.</p> - -<p>Now for the story:</p> - -<p>James Hunks, known on the bills as Signor De -June, was in 1875 proprietor of a Ballet Troupe.<span class="pagenum"><a id="Page_108"></a>[108]</span> -The corps de ballet consisted of sixteen ladies who -were personally selected by Signor De June, and -trained by him so that they performed some very -wonderful terpsichorean evolutions. Eight of these -women were blondes and eight brunettes. Surprising -to state, none were over thirty and none under -twenty years of age. But they were all Women who -Did—that is to say, Ladies with a Past.</p> - -<p>Not that they were selected on this account; indeed, -Signor De June did not interest himself in -their Experiences—he only wanted form and intellect—but -mostly form. Yet a coryphee must have -brains, else she could not learn to conduct her airy -shape through the mazy evolutions of the dance.</p> - -<p>But it came about by degrees that Signor De -June learned that all of his ladies were Ladies with a -History. And being a philosopher, he reasoned it out -that the ballet was the only respectable calling that -was open to a woman who had been the victim of -misplaced love. Such is the bitter cruelty of a sham-virtuous -society.</p> - -<p>And thus on page 141 Signor De June muses as -follows: “Had my ladies been possessed of homely -faces and crusty manners, no temptation could have -come to them, and they would all have lived and -died virtuous maidens; or at best been the contented -(or discontented) wives of farmers, molders, bricklayers<span class="pagenum"><a id="Page_109"></a>[109]</span> -or mill hands. But being loving and gracious -and sympathetic and withal beautiful, they have been -unfortunate. Furthermore no woman should ever -speak of her virtue unless she hates her husband and -loves another man.”</p> - -<p>So Signor De June was very kind and gentle -with these ladies—aye! tender. He loved them all; -he guarded and shielded them from every fierce temptation. -It was a pure paternal love—more properly -Platonic. He only wished to make them happy—that -was all.</p> - -<p>They gave exhibitions in the principal cities of the -United States and were everywhere successful. Occasionally -a husband or a former lover of one of these -Women who Did would appear upon the scene, and -whenever this happened the Signor, who was a -large man and ambi-dextrous, would take the offender -neck and crop and throw him out. This always -cooled the most amorous follower, but it kept -Signor De June quite busy. Yet it must not be -thought that the Signor was brutal—far from it: all -were welcome to worship his ladies, but it must be -done from the parquette or dress circle.</p> - -<p>So they were all very prosperous and very happy, -until one day the wife of Signor De June appeared -and camped upon his trail. He had gotten an Indiana -divorce from this woman five years before,<span class="pagenum"><a id="Page_110"></a>[110]</span> -but the courts had pronounced it invalid, and now -she was upon him neck and crop, just as he had -been upon the lovers and husbands. He tried to -explain to her that he loved the Corps de Ballet, not -the ladies individually. He loved them as a Whole, -not singly. Moreover, his love was idyllic—Platonic. -The wife explained that the thing did not exist except -in books, and further stated her belief that the -love was Plutonic if anything; and moreover it -must cease.</p> - -<p>No doubt the woman really loved Mr. Hunks. He, -too, had a little regard for her, although they quarrelled. -But he was essentially commercial—a man -of peace. He had no stomach for a legal battle with -his wife’s attorneys, who had taken the case on speculation, -and he could not run away. The woman -utterly refused to be bought off for a reasonable sum, -and she also declined joining the Ballet herself, in -spite of De June’s assertions that he could love seventeen -as well as sixteen, for in love capacity increases -through use.</p> - -<p>“Try it for a month and you will see that it is -Platonic,” said De June.</p> - -<p>“I’ve no doubt I’d find it so,” said the wife.</p> - -<p>She still was firm. He must choose between her -and the Troupe. If he chose the Troupe he’d have -her, like the poor, always with him. If he chose<span class="pagenum"><a id="Page_111"></a>[111]</span> -her alone she would still resemble the poverty stricken; -but there would come times when vigilance might -relax and he could slip a way.</p> - -<p>But what to do with the Troupe! He could not -throw these beautiful, susceptible women on a struggling, -seething, wicked world. He could not put -them on a farm, for who would look after, correct, -discipline and restrain them as he had done? If -allowed to scatter they would marry, and marriage -according to civilized methods, so-called, was a failure; -had he not tried it?</p> - -<p>But De June was a man of resource (he was -from Chicago). They were in Denver and women -were scarce. He would select husbands for his -ladies, himself.</p> - -<p>He did so, choosing sixteen strong fine young -miners. Calling the men out one side, he made -known to them his plan. Each man was to have a -wife on payment of the trifling fee of two hundred -dollars “matriculation” (<i>Sic</i>). The men were delighted—but -had the ladies been consulted? No, -that was not necessary—there was to be a return -to primitive methods, which indeed were ever best: -civilization was artificial, unnatural and corrupt.</p> - -<p>These sixteen ladies were all of fair intelligence, -good hearted, able to work, willing to obey. More -than that they had great capacity for loving, for had<span class="pagenum"><a id="Page_112"></a>[112]</span> -not this excess of love been their misfortune? The -love only needed proper direction, like all of our -other gifts.</p> - -<p>The sixteen gentlemen that the philosophic De -June selected were of fair intelligence, healthy and -good natured, prosperous and all men of fine physique. -There was no choice in the men; there was no -choice in the women; they were on the same intellectual -plane—they were well mated and De June -would not defeat the God of Chance by allowing any -personal selection. One man offered a thousand -dollars for first choice, but Mr. Hunks was a man of -honor and could not be bought.</p> - -<p>The gentlemen were to be in the parquette. When -the ladies appeared on the stage, at the word “Go” -from De June, the sixteen men were to make a -rush for the stage and each seize his future wife. -All after the manner of the Romans who captured the -Sabine women—and I guess the Roman Nation is -not to be sneezed at! Cæsar, Antony, Brutus and all -the rest of those honorable men were products of just -such marriages.</p> - -<p>The rush was made—the women screamed, some -fainted, but each man held his prize. The electric -lights were turned off, the audience got out as best -it could. Then the doors were locked, the curtain -dropped and Signor De June stepped forward and<span class="pagenum"><a id="Page_113"></a>[113]</span> -in gentle words assured the sixteen ladies that no -harm should come to them. All had been arranged -for the best. They must be good honest wives, and -the men must be good honest husbands, and Mr. -Hunks, being a Justice of the Peace, declared them -all man and wife—that is sixteen wives and sixteen -husbands.</p> - -<p>The women, it must be confessed, had grown a -trifle weary of the De June Idyllic Plan; and in the -good old-fashioned womanly way, oft in the night -season, each had confessed in her own heart, that one -loving husband for each woman was what Nature -intended. So they accepted the situation, and each -began to use those winning ways that Herbert Spencer -says are woman’s weapons: woman conquers -through her intuition.</p> - -<p>At a word from De June the women repaired to -their dressing rooms and soon appeared in customary -feminine attire. This time the ladies had to pick -their mates, for the change in dress greatly mystified -the hirsute miners. There was a slight scramble -among the ladies when three of them selected the -same man, but the Signor soon brought order out of -chaos. This scene, which occurs in chapter XXXIII, -is quite dramatic.</p> - -<p>All being amicably settled De June gave each -woman a chaste kiss on the cheek, shook hands<span class="pagenum"><a id="Page_114"></a>[114]</span> -with the grateful miners and went sorrowfully back -(with his $3,200.00) to the hotel where his Mary -Jane sat up awaiting him.</p> - -<p>That night Mr. Hunks and his wife left for Chicago. -There he went into real estate and was very successful. -Having resolved to face his fate, he treated -Mary Jane as gently as he could and she repaid it all -in kindness. So things were really not so bad as the -Signor had imagined.</p> - -<p>Ten years passed and Mr. Hunks went back to -Denver and found that the sixteen couples were living -happily. Many little pledges had appeared to -cement the bonds. All were content and perfectly -mated, although several of the men were a bit henpecked—but -a man soon gets used to such things. -(See page 491, line 16). The women having had -Experience were resolved to hold their new found -mates with love’s own bonds; and the men fearing to -lose such beautiful treasures were ever kind. There -was a little doubt in the minds of all concerning De -June’s commission as Justice of the Peace, and then -certain requirements of the divorce courts had not -been fully met, but these irregularities put all on their -good behavior. For it is a fact that if a mortal knows -that his mate cannot get away he is often severe and -unreasonable.</p> - -<p>And the curious part of all this is that the story is<span class="pagenum"><a id="Page_115"></a>[115]</span> -true. Mr. Cudahy protests it on his honor, and declares -that these sixteen worthy couples laid the -foundation for the elite of Denver society, and are -now the leading lights in that beautiful city.</p> - -<p>The story is somewhat marred by such ungrammatical -expressions as “has came,” “shouldn’t ought,” -etc. There are also a needless number of French -and Latin phrases, culled from a lexicon I fear, and -a striving after Latin derivatives. It is also a pity -that more pains was not taken with the proof reading, -as exasperating errors are on nearly every page. -Still these are minor points.</p> - -<p>In the last four chapters there is considerable symbolism, -which one cannot but wish had been put in -plain English. Like Zangwill’s <i>The Master</i>, the -moral is left for the last. It is a little clouded, but I -take it that Mr. Cudahy believes that civilization’s -plan of selection is very faulty. He suggests indirectly -that Congress should appoint Matrimonial -Commissioners for each district—men of discretion, -experience and judgment. The Commissioner is to -select from society sixteen marriageable young women -and place them in a room, and then take a like number -of young men and let them make a rush, and -this, says Mr. Cudahy, would doubtless do away with -many of our matrimonial misfits.</p> - -<p>Lovers of literature will look anxiously for Mr.<span class="pagenum"><a id="Page_116"></a>[116]</span> -Cudahy’s next book, and in the meantime I am sure -that the Young Decadents will reap a rich harvest -from <i>The Pawns of Chance</i>. I am in receipt of a -letter from the distinguished author wherein he says -that he is positively declining all invitations to lecture -in the provinces, but that he may appear late in the -season in a few of our principal cities.</p> - -<p>It may interest the Philistines to know that R. G. -Dun & Co. rate Mr. Cudahy Z Z xxx 1, while -Hobart Chatfield-Chatfield Taylor is only Y x 2 3·4 -and Mrs. Reginald De Koven ranks K x 4. At the -present moment I can recall but two residents of -Grub Street who have ratings so high as Mr. Cudahy, -these being William Waldorf Astor and Walter Blackburn -Harte.</p> - -<p class="right"><span class="smcap">Elbert Hubbard.</span></p> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<div class="chapter"> - -<h2 class="nobreak" id="THE_MANNERS_TART">THE MANNERS TART.</h2> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="50" height="60" alt="" /> -</div> - -<p class="dropcap">An old and worn out Tart once sat on the pantry -shelf and as it dried and stiffened, thus it -soliloquized: “In my youth men fought over me, -not to possess me, but that each should pass me to his -neighbor.</p> - -<p>“I was a fair Tart, greatly to be prized, but the -manners of all were such that I was left alone on the<span class="pagenum"><a id="Page_117"></a>[117]</span> -table, the last of my kind, the Manners Tart, and -they all withdrew, feigning indifference.</p> - -<p>“The cook, having made many of my brethren, -cared not for me, so I, created to rejoice the soul of -man, sit here, a cold and cheerless thing at which the -rats gnaw nightly.</p> - -<p>“There was a little boy at the table, but why speak -of him? He stretched out his hand for me, but -detecting a slight frown between the eyebrows of his -mother, he withdrew it and my chance was gone.</p> - -<p>“The little boy was the only one that sympathized -with me; he knew that a Tart is short lived at best; -that the only modest ambition of a Tart is to gladden -some one in life and to overhear a few words of -praise as it passes away.</p> - -<p>“But alas! I am a failure, and all because I move -in a circle that makes a merit of self-sacrifice. I do -not understand such things, but——” here a pang of -mold struck to the Tart’s heart and it relapsed into -unconsciousness.</p> - -<p>If it had understood it would have said—“there -are many joys in the world that die unrejoiced over -because no man will have the courage to do what he -wants to do.”</p> - -<p class="right"><span class="smcap">Clara Cahill Park.</span></p> - -<p><span class="smcap">Detroit</span>, August, 1895.</p> - -<div class="figcenter"> - -<img src="images/deco1.jpg" width="30" height="30" alt="" /> - -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_118"></a>[118]</span></p> - -<h2 class="nobreak" id="A_MATTER_OF_BACKGROUND">A MATTER OF BACKGROUND.</h2> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="50" height="60" alt="" /> -</div> - -<p class="dropcap">If the war in the extreme East just ended has done -no more for humanity, it has demonstrated the -unfitness in these days of a nation that has no perspective. -Philosophers we have had, and eke reformers, -who saw no farther than their noses. But -here is a great people whose polity is exclusive, -whose art recognizes no relation of distance, whose -social code is rigidly formal and openly mercenary, -whose methods in war consisted up to a late date of -noise and stenches and hideous banners designed to -frighten an enemy. With rare powers of detail, the -art of China is lifeless and without spirituality or suggestive -force. With centuries of training in literary -industry, its lore is the elaborate repetition of didactic -sayings thousands of years old. There is no background -in its pictures. There is no constructive basis -in its social theory. All is flat surface, repression, -imitation. Yet here is the oldest nation in the world -in continuous history. We need not wonder it has -fallen at last. The marvel is that it stood so long. -The student of history may well ask what has held -back destroying hands through so many centuries of -the world’s unrest.</p> - -<p>Lack of a sense of proportion and distance is not -peculiar, however, to Orientals. Even in the light<span class="pagenum"><a id="Page_119"></a>[119]</span> -of western civilization philosophers have forgotten -yesterday and to-morrow, and the foreground has -usurped the canvas. Impatience is a sign of modern -degeneration if the oracle who has a caveat on that -warning is good authority. It is strange to find in -the prophet himself the fault he attributes to our -time. For in all ages the world has been on the -point of going to the dogs, according to some voice -crying in the wilderness or on the house tops, as he is -crying now. From Jonah warning luxurious Nineveh -down to Max Simon Nordau listing crooked ears as -the breeder counts his cross-billed chicks as proof -that the race is “running out,” the warning has been -unceasing. And yet the race lives, and builds on its -ruins.</p> - -<p>Our nerves have worn us out, according to Mr. -Nordau. If Count Tolstoi knows, amatory passion is -the cause of the wreck, and high feeding back of -that. If Mr. Ibsen is right, artificiality has destroyed -the virtues. M. Zola is sure that bestiality has -brought judgment upon at least one modern Sodom. -Mynheer Maartens is Philistine enough to ascribe -most of our ills to repression of sincerity, of naturalness -in social life. And so a score of doctors describe -special symptoms, each empirically, each truthfully. -The wisest of them—those who have a sense of perspective—see -beyond the immediate ailment the persistent<span class="pagenum"><a id="Page_120"></a>[120]</span> -vitality which is never wholly conquered.</p> - -<p>We have specialized philosophy and literature as -we have medicine. These are not quacks who tell -us the world is going to wreck through the extravagances -of society, through the repression of humanities, -through the lusts of gross living. They are -students of particular phases of distemper. The -world, not the men in its clinics, is to blame when it -hails each as a cure-all. The realism of a Zola or a -Nordau is not a finality. While the knife is in hand -the ulcer is pre-eminently in evidence. Its removal -is the business in order. But the genius of a Zola -that divines the cancer in the vitals of society presupposes -the life that is behind it—and that is the -main factor in his surgery.</p> - -<p>He would be a false teacher who should put the -immediate in the place of the permanent in any such -calculation. The world that listens has an equal responsibility. -The greatest artist can only paint passing -phases of the limitless evolution going on about -him. It is heresy in itself fatal to put a phase in the -place of the infinite process. Grant that society is -always at war with itself, always repressing truth, -always promoting animalism by its very more or less -disguises. The paradox of these results can never -be wholly escaped. The teacher who sees what is -and was in due proportion will judge what is to be,<span class="pagenum"><a id="Page_121"></a>[121]</span> -though no son of a prophet. The new realism for -which Philistines contend is no expose of the evils -of modern society, no uncovering of a witch’s pot. -It holds all these manifestations in perspective, but -substitutes none of them for a general view of life -and human destiny. It would make health instead -of disease infectious, substituting for blind Oriental -imitation a truer standard of custom, freer from convention -that has no warrant of purpose, more direct -in its expression of natural and normal vitality -in personal living and thinking. “From within -outward,” is its motto. It would depose and outgrow -self-consciousness—the vampire fungus that -signalizes arrested development and decay in thought -or in letters or in the self-projection of social life. -The realism of the Philistines is manifested in the -recognition of healthy life that we find in some of -the new literature—in the heroic romance of Anthony -Hope, in the charming tenderness and sweetness of -Maartens’s Hollandais and in the fresh-witted islanders, -full of arterial blood, of Hall Caine and the -wizard who lies buried on the mountain top of his -own beloved island—that second one to the left -after you leave San Francisco.</p> - -<p>Even the modern stage, corrupted by French -intensities and the commercial idea of filling the -house, is showing signs of a reaction. Not more<span class="pagenum"><a id="Page_122"></a>[122]</span> -than nine-tenths of the standard attractions of the -coming season are based on infractions of the seventh -commandment or of that similar law which every -chivalrous man knows, though it was never traced -in fire on the Sinaitic stone.</p> - -<p class="right"><span class="smcap">William McIntosh.</span></p> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<div class="chapter"> - -<h2 class="nobreak" id="IN_SLIPPERY_PLACES">IN SLIPPERY PLACES.</h2> - -</div> - -<div class="blockquote"> - -<p>“Publish it not in the streets of Askelon lest the -daughters of <span class="smcap">The Philistines</span> rejoice.”</p> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="50" height="60" alt="" /> -</div> - -<p class="dropcap">The publishers of the <i>Chap Book</i> of July 15th have -kept their promise to furnish original matter in -one way perhaps not contemplated when they made -mention of that booklet in their catalogue.</p> - -<p>We can rest assured that Tacitus never wrote -“emperasset” in the sentence quoted on page 174; -we shall be slow to believe that the author of <i>The -Children of the Ghetto</i>, in confusion of mind was referring -empire and empirical to a common origin, -mixing up the sons of Aeneas and Danaos after the -fashion of Little Buttercup.</p> - -<p>With perhaps a trifle less confidence we may acquit -him of dragging into notice as a prominent name in -English letters the hitherto obscure or wholly mythical -“Carlysle,” who figures on page 177. But in excusing -the writer from the fatherhood of these literary foundlings<span class="pagenum"><a id="Page_123"></a>[123]</span> -we are compelled to look to the publishers or at -least to their proof-reader as the responsible man, a -sense of decency no less than the requirements of this -metaphor, repudiates the suggestion that he might -after all turn out to be a woman, and whether the -reproach belong at the door of the principals or of the -workman is quite immaterial to us, the house must -stand the breakage of glassware, not the bartender.</p> - -<p>A matter of two typographical errors within the -space of a single short article may seem but trifling -subject for comment in a world where the surest -footed at times slip, but one or two considerations -make even such venial sins fit objects for animadversion. -The publishers of the little fortnightly, in -the manner of their issues if not in so many words, -set themselves up, in a fashion, as guides in the -matter of literary elegance, it behooves them therefore -to take heed that the unwary be not led astray. -“Who drives fat oxen should himself be fat,” nor -should the venerable name of Caxton be made a laughing-stock -in the mouths of scoffers.</p> - -<p class="right">W.</p> - -<p><span class="smcap">San Francisco</span>, August, 1895.</p> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<p><span class="smcap">To Mark Twain</span>: I am awfully sorry you have -lost all your money. I am in the same boat, but -let’s not talk about it all the time.</p> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_124"></a>[124]</span></p> - -<h2 class="nobreak" id="A_LANTERN_SONG">A LANTERN SONG.</h2> - -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza allsmcap"> - <div class="verse indent0">EACH SMALL GLEAM WAS A VOICE</div> - <div class="verse indent0">—A LANTERN VOICE—</div> - <div class="verse indent0">IN LITTLE SONGS OF CARMINE, VIOLET, GREEN, GOLD.</div> - <div class="verse indent0">A CHORUS OF COLORS CAME OVER THE WATER,</div> - <div class="verse indent0">THE WONDROUS LEAF-SHADOWS NO LONGER WAVERED,</div> - <div class="verse indent0">NO PINES CROONED ON THE HILLS,</div> - <div class="verse indent0">THE BLUE NIGHT WAS ELSEWHERE A SILENCE</div> - <div class="verse indent0">WHEN THE CHORUS OF COLORS CAME OVER THE WATER,</div> - <div class="verse indent0">LITTLE SONGS OF CARMINE, VIOLET, GREEN, GOLD.</div> - </div> - <div class="stanza allsmcap"> - <div class="verse indent0">SMALL GLOWING PEBBLES</div> - <div class="verse indent0">THROWN ON THE DARK PLANE OF EVENING</div> - <div class="verse indent0">SING GOOD BALLADS OF GOD</div> - <div class="verse indent0">AND ETERNITY, WITH SOUL’S REST.</div> - <div class="verse indent0">LITTLE PRIESTS, LITTLE HOLY FATHERS,</div> - <div class="verse indent0">NONE CAN DOUBT THE TRUTH OF YOUR HYMNING</div> - <div class="verse indent0">WHEN THE MARVELOUS CHORUS COMES OVER THE WATER,</div> - <div class="verse indent0">SONGS OF CARMINE, VIOLET, GREEN, GOLD.</div> - </div> - <div class="stanza"> - <div class="verse right"><span class="smcap">Stephen Crane.</span></div> - </div> -</div> -</div> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_125"></a>[125]</span></p> - -<h2 class="nobreak" id="THE_RUBAIYAT_OF_OMARA_KHAYVAN">THE RUBAIYAT OF O’MARA KHAYVAN.</h2> - -<p class="center allsmcap">ERIN (IRAN?) YEAR OF THE HEGIRA 94—VIA -BROOKLYN.</p> - -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Wake! for the night that lets poor man forget</div> - <div class="verse indent0">His daily toil is past, and in Care’s net</div> - <div class="verse indent2">Another day is caught to gasp and fade;</div> - <div class="verse indent0">Oh, but my weary bones are heavy yet!</div> - </div> - <div class="stanza"> - <div class="verse indent0">Wake! son of kings that bears a hod on high,</div> - <div class="verse indent0">And builds the world. The red sun mounts the sky</div> - <div class="verse indent2">And circles squares in the cot’s every chink</div> - <div class="verse indent0">And gilds ephemeral motes that whirl and die.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Wake! for the bearded goat devours the door!</div> - <div class="verse indent0">And now the family pig forbears to snore,</div> - <div class="verse indent2">And from his trough sets up the Persian’s cry—</div> - <div class="verse indent0">“Eat! drink! To-morrow we shall be no more!”</div> - </div> - <div class="stanza"> - <div class="verse indent0">Eat, drink and sleep! Aye, eat and sleep who can!</div> - <div class="verse indent0">I work and ache. The beast outstrips the man;</div> - <div class="verse indent2">And when oblivion bids the sequence end,</div> - <div class="verse indent0">Which shall we say has best filled nature’s plan?</div> - </div> - <div class="stanza"> - <div class="verse indent0">When on Gowanus’ hills the whistle blows</div> - <div class="verse indent0">What dreams are mine of Hafiz’ wine-red rose?</div> - <div class="verse indent2">And when I drag my leaden feet toward home</div> - <div class="verse indent0">No sensuous bulbul note woos to repose.</div> - </div> - <div class="stanza"> - <div class="verse indent0">I envy the dull brute my hand shall slay.</div> - <div class="verse indent0">He lifts no stolid eye above the clay.</div> - <div class="verse indent2">I, longing, on the cloud-banked verge discern</div> - <div class="verse indent0">“Unborn To-morrow and dead Yesterday.”</div><span class="pagenum"><a id="Page_126"></a>[126]</span> - </div> - <div class="stanza"> - <div class="verse indent0">What is the Cup to lips that may not drain?</div> - <div class="verse indent0">Or fleeting joy to lives conceived in pain?</div> - <div class="verse indent2">Toil and aspire is still the common lot,</div> - <div class="verse indent0">Stumbling to rise and rising fall again.</div> - </div> - <div class="stanza"> - <div class="verse indent0">And is this all? Shall skies no longer shine,</div> - <div class="verse indent0">Or stars lure on to themes that seem divine?</div> - <div class="verse indent2">Ah, Maker of the Tents! is this thy hope—</div> - <div class="verse indent0">To feed and grovel and to die like swine?</div> - </div> - <div class="stanza"> - <div class="verse right">W. M.</div> - </div> -</div> -</div> - -<div class="figcenter"> -<img src="images/deco1.jpg" width="30" height="30" alt="" /> -</div> - -<div class="figleft"> -<img src="images/deco3.jpg" width="170" height="100" alt="" /> -</div> - -<div class="chapter"> - -<h2 class="nobreak hanging allsmcap" id="SIDE_TALKS_WITH_THE_PHILISTINES">SIDE TALKS WITH THE PHILISTINES: -BEING SUNDRY BITS OF -WISDOM WHICH HAVE BEEN -HERETOFORE SECRETED, AND ARE NOW -SET FORTH IN PRINT. <img class="inline" src="images/deco1.jpg" alt="" /></h2> - -</div> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> To Robert Cameron Rogers: You are keeping -the stage waiting.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> My friend with the Sharp Scissors which edit -the Table Talk column of the Buffalo <i>Commercial</i> -had a few words to say the other evening regarding -success. He alleged that Mr. Bok and Richard -Harding Davis were successful men, and that it was -the pleasure of unsuccessful people to jump on them -mercilessly. I dislike to disagree with Mr. Quilp, -but it seems to me that he belongs to that class of -people who habitually miss the point of things.</p> - -<p><span class="pagenum"><a id="Page_127"></a>[127]</span></p> - -<p>The story in <i>Gil Blas</i> of the strolling player—true -to what he deemed his art—working with commendable -if misdirected energy, walking from town to -town, and as he walked soaking his dry crusts in the -water of wayside wells—this were a story of success. -Success, it seems to me, lies not so much in having -one’s name a commonplace among this great American -public, which falls down to worship mediocrity -if it is well advertised, as in doing one’s day’s work -honestly and sincerely. To sing a song that finds -its way into the hearts of men; to act a part that -helps another toward his happiness, and do it all -without blare of trumpets and jangle of hurdy-gurdy; -and then walk on to the next town, stopping by the -roadside wells to soak a dry crust in cool water, or, -perhaps, a fresh cake in a mug of Bass as occasion -served, and then, at the end, to lie down quietly, -listening to the singing by the people of one’s own -songs—though they know it not—presents a picture -of a perfect harmony. This is the preachment of -Stevenson and of men before him, and until a better -one may be advanced this will serve. I would -rather have written <i>The Pavilion on the Links</i> than -<i>Successward</i>, or even Mr. Davis’s masterpiece, <i>Van -Bibber and the Swan Boats</i>. Still, it is a matter of -taste, and if one likes lactated food, roast mutton is -bad for his stomach.</p> - -<p><span class="pagenum"><a id="Page_128"></a>[128]</span></p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> According to the prospectus Mr. Cudahy’s book -fairly bristles with epigram: the bristles alone are -said to be worth the money.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> Probably Lawrence Hutton knows more about -death masks than any living man. I cheerfully grant -him this honor, but when he writes the advertising -pages in <i>Harper’s</i> and springs them on an unsuspecting -public as “Literary Notes,” I rebel. Rebellion -is not, however, confined to mere objection to his -sailing under false colors, but to such sentences as -these from a recent number of <i>Harper’s</i>:</p> - -<div class="blockquote"> - -<p>“<i>Beyond the Dreams of Avarice</i> is not as <i>amusing</i> -as an entertaining story, but it is intensely interesting -from beginning to end. No one who picks it up for -an evening’s <i>amusement</i> will be likely to lay it down -unfinished or to lay it aside for any other form of current -<i>entertainment</i>.”</p> -</div> - -<p>The italics are mine, and are put in simply to emphasize -the occult meaning of Mr. Hutton, who belongs -to the class which assumes to set the literary -pace of the world. I doubt if Brander Matthews -could do worse.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> The portrait of Mr. Cudahy that is used as a frontispiece -in his new book is a photograph from the original -chromo, signed by the electrotyper.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> It is reported to me that quite a large section of<span class="pagenum"><a id="Page_129"></a>[129]</span> -the Metropolitan colony sing their jubilate this way: -“It is Howells that hath made us and not we ourselves—We -are his people and the sheep of his -pasture.”</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> “Papa,” said the smart boy at dinner, “does consomme -mean consumed?”</p> - -<p>“No, my son,” said the philologic pa, “consomme -is from a Latin word, <i>summum</i>—all—and comes to -us via the French. It means ‘all together’—the -same as the Trilby pose.” And there was silence -for the space of four seconds.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> Somebody has sent me the prospectus of a magazine -shortly to be published in Cincinnati. In spite of -rumors to the contrary <span class="smcap">The Philistine</span> will continue -publication. Even <i>The Century</i>, although frightened, -will let advertising contracts as heretofore. <span class="smcap">The -Philistine</span>, and supposedly other magazines, base -their hopes of a longer existence not on their equal -worth—for lo! it is but timorously we draw breath -after reading this prospectus—but knowing that the -new magazine will be keyed to so exquisite a pitch of -literary supremacy that only a few from the world -erudite may revel in such a rarified atmosphere. -The birth of the periodical—from the prospectus—fittingly -closes this momentous era. Evolution, hitherto -satisfied with minute gradations, now forges<span class="pagenum"><a id="Page_130"></a>[130]</span> -ahead in a stupendous leap; we are diatoms, we -scratch rudely on bones, and live in caves; we still -bag the mastodon with embryonic pitfall, we shave -with a shell and are only paleozoic microbes in a -literary miocene age. We are mental fossils clogged -in stratified oblivion—but we can’t help it, we are -rudimentary and still possess some basal instincts -such as love, religion, love of beauty and the like. -But we never imagined how infinitesimal we were until -the coming of that fatal prospectus. Now we realize -that the groaning of the world, the extraordinary upheaval -of the age, the quickening of the leaven, the -quaking of the Zeit Gheist were but the premonitory -travaillings of eternity before the awful nativity of -this infant from Over-the-Rhine. The veil of our -temple is rent and our suspenders are in hock. -Mighty Spirit of the æons have mercy on us! we are -worms! moribund, senile old things. Our ears are -sessile, yet we hear the portents. In this hackneyed, -conventional, sterile age somebody is going to be -original! Prostrate we make obeisance. Spare us -Original that is to be—spare us! But who t’ell -started this Literary Fresh Air Fund, anyway?</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> “Three generations from the soil” may be a good -rule of social eligibility after all. I know a family in -one of our great lake cities which has ruled society -therein for half a lifetime and it is only two removes<span class="pagenum"><a id="Page_131"></a>[131]</span> -from the mud. But savagery will crop out now and -then, despite all the austerities of social custom and -the perpetual effort to reach the calm of Nirvana and -look as if life was a doosid bore. The delight of -these, as of all savages, is to astonish the natives. -When it can be done by driving a loping team of -circus horses down the chief avenue of the city, that -suffices. Another pet trick is to mass the family on -the porch of the wooden-castled mansion on a Sunday -morning and take their pictures in group, in full -view of worshippers returning from church. The -suggestion of a Ute reservation at such times is complete. -When these fail to create a sensation, a yellow -tally-ho driven madly through the narrowest -streets of the Quartier Teuton, scattering dogs and -babies, with whoops and horns and the mottled circus -horses in the lead, does the business. It isn’t so -long since the richest of our American nobility showed -the craven blood of the materialistic sons of the bush, -to whom brute life is everything. The American-English -duel that failed is still an unpleasant memory. -I mention these things only to illustrate the paradox -of our days. We do labor hard to get rid of the joy -of living and we call the new state culture and repose, -when we get it. But the storage of force is a poor -thing. It breaks out in abnormal ways and the acquisitive -father is punished in his degenerate children<span class="pagenum"><a id="Page_132"></a>[132]</span> -to the third and fourth generation sometimes—and -usually to the second.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> I have received the second volume of <i>Moods</i>, which -my Philadelphia correspondent calls <i>Sulks</i>. It is a -retrograde from the first number in that in some -places the printing is on both sides of the leaf. I -had hope that <i>Moods</i> would continue its good work -and in the second number leave both sides blank. -As it is, however, I commend the first volume to that -eminent figurer, Mr. Edward Atkinson of Boston, -who may use the blank sides upon which to calculate -what the other pages are good for. By the way, the -announcement of the second volume contains a description -of the type used, which is a reprint of the -typefounder’s circular concerning the Jenson type. I -would imagine that some of the geniuses of <i>Moods</i> -could have at least written an original circular. The -prospectus of the second volume contains a list -of one hundred and seventeen stars—geniuses of -the first magnitude—still as my friend of the <i>Picayune</i> -says, “Though they twinkle, twinkle, twinkle, we -wonder what they are.”</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> If McClure can give us more such exquisite stories -as the Zenda tale in the August number, a good deal -of reminiscent literature and living documents may -be pardoned. Hope is better than memory, Mr. -McClure.</p> - -<p><span class="pagenum"><a id="Page_133"></a>[133]</span></p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> Mr. Frank A. Munsey, who prints a picture book, -of which eleven million copies are sold every four -weeks, declares in a shrill, throaty falsetto that -American literature at present is so and so; and that -in the future he proposes to have it <i>so</i>. Mr. Oppenheimer -of Rochester has not yet been heard from.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> I hope no one suspects me of any disrespect -toward Mr. Ham Garland of the Chicago Stock -Yards, heretofore noticed in these columns. A correspondent -reminds me that Mr. G. is favorably -mentioned in the oldest records. The historian of -the creation remarks “And Ham was the father of -Canaan.”</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> Chicago’s <i>Echo</i> should be successful. It is taking -from the foreign periodicals their very best of picturings -and giving us a taste of the delightful fun of -<i>Fliegende Blætter</i>, <i>La Rire</i>, and the rest—a fun -which somehow we cannot produce in America, so -<i>Puck’s</i> artists and those of <i>Judge</i> and a few others -borrow the ideas and we pat ourselves on the back -and say what a keen sense of humor we have. We -are very funny—we Americans—funnier, by long -odds, than we think. I notice, too, that <i>The Echo</i> -knows another good thing when it sees it, so the -editors have made the printers use my pet grape -leaves for the beginnings of their paragraphs. For -this compliment to my taste I thank <i>The Echo</i>.</p> - -<p><span class="pagenum"><a id="Page_134"></a>[134]</span></p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> What we are coming to in poetry is always a fascinating -theme—like biking in the dark on a strange -road. But what we are going away from is more -satisfactory to contemplate. It is pleasant to think -that Homer, the blind minstrel, and Omar, the tent -maker, are fixed facts. They are the poles of verse—one -standing for the heroic and romantic, self-unconscious -and buoyant, the other for vampire introspection -and fatalism which mistakes interior darkness -for an eclipse of the universe. It is also consoling to -know that such poetry as Francis Saltus Saltus’s -“Dreams After Sunset” and Duncan Campbell -Scott’s yawp in the August number has been written—for -they won’t have to be written again.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> Judge Grant, in commenting on the ways of the -Summer Girl in the July <i>Scribner’s</i>, says that after -her return to her own particular vine and fig-tree she -has, among other perplexities, “a considerable uncertainty -in her mind as <i>to whom she is engaged to</i>.” -This is in form somewhat similar to the reporter who -said the victim of the trolley accident was killed -fatally dead.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> According to Mr. F. Hopkinson Smith, who parts -his name in the middle and therefore ought to know, -“Abbey in his art really has done what Wagner has -done in music, Tennyson and the poets in verse.” He -says so in the current <i>Scribner’s</i>. Tennyson “and”<span class="pagenum"><a id="Page_135"></a>[135]</span> -the poets is so kind—with accent on the “so.” The -author of “Locksley Hall” ought to come back to -Lily Dale or somewhere and thank Mr. Hopsmith.</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> The style of whiskers formerly called “Dundreary,” -is now known as “The Wind in the Clearing.”</p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> I have received from the Department of Agriculture -an envelope labelled “Official Business—Penalty -for Private Use $300.” Stamped across the face -in red ink is the autograph of Hon. D. N. Lockwood. -Inside this envelope was one still smaller which bore -this inscription:</p> - -<div class="boxdots"> - -<p class="center">U. S. Department of Agriculture.</p> - -<p class="center">FORGET-ME-NOT.</p> - -<p class="center">Blue.</p> - -<p>A half-hardy perennial. It prefers -a moist situation, is easily grown and -blooms early.</p> - -</div> - -<p>If I remember correctly Mr. Lockwood Ran for -something during last fall’s campaign. I wonder -what he is going to Run for next that he wishes -to be remembered.</p> - -<p><span class="pagenum"><a id="Page_136"></a>[136]</span></p> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> New York rejoices in the possession of a magazine -for rich people. It is called <i>Form</i>, and it tells all -about the first families—Knickerbockers and others—and -what they do to be decent. I understand it proposes -to offer prizes after the manner of Judge Tourgee’s -<i>Basis</i> for the cleverest paraphrase of the second -verse in Genesis. The historian of creation declares -that on the first day “the earth was without <i>Form</i>, -and void.” It’s a great “ad.”</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0"><img class="inline" src="images/deco1.jpg" alt="" /> In</div> - <div class="verse indent0">Praising poetry of William Morris</div> - <div class="verse indent0">And Stephen Crane</div> - <div class="verse indent0">Were you poking fun?</div> - <div class="verse indent0">I hope ’twas so:</div> - <div class="verse indent0">For</div> - <div class="verse indent0">You must perceive</div> - <div class="verse indent0">That those slashed and mangled lines</div> - <div class="verse indent0">Do no more resemblance bear</div> - <div class="verse indent0">To true poetry</div> - <div class="verse indent0">Than hacked and shattered corpse</div> - <div class="verse indent0">On battle field</div> - <div class="verse indent0">Bears</div> - <div class="verse indent0">To a perfect man,</div> - <div class="verse indent0">Whose form divinely fair</div> - <div class="verse indent0">Fitly enfolds feelings consummate</div> - <div class="verse indent0">Against such lines—</div> - <div class="verse indent0">And in fact ’gainst all your verse,</div> - <div class="verse indent0">I do</div> - <div class="verse indent0">Protest.</div> - </div> - <div class="stanza"> - <div class="verse right"><span class="smcap">Nelson Ayres.</span></div> - <p><span class="smcap">New Orleans</span>, Aug. 15, ’95.</p> - </div> -</div> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="figcenter"> -<img src="images/pigs.jpg" width="500" height="265" alt="" /> -</div> - -<p><img class="inline" src="images/deco1.jpg" alt="" /> At the Publishers’ Convention recently held in San -Francisco the delegates were treated to a steamboat -ride down the bay where a picnic was held. Police -were on hand to see that the delegates did not all -rush down a steep place into the sea and perish in the -waters.</p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE PHILISTINE: A PERIODICAL OF PROTEST (VOL. I, NO. 4, SEPTEMBER 1895) ***</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-top:1em; font-size:1.1em; text-align:center'>START: FULL LICENSE</div> -<div style='text-align:center;font-size:0.9em'>THE FULL PROJECT GUTENBERG LICENSE</div> -<div style='text-align:center;font-size:0.9em'>PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</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/68384-h/images/cover-deco2.jpg b/old/68384-h/images/cover-deco2.jpg Binary files differdeleted file mode 100644 index 8e43571..0000000 --- a/old/68384-h/images/cover-deco2.jpg +++ /dev/null diff --git a/old/68384-h/images/cover-issue4.jpg b/old/68384-h/images/cover-issue4.jpg Binary files differdeleted file mode 100644 index c96a474..0000000 --- a/old/68384-h/images/cover-issue4.jpg +++ /dev/null diff --git a/old/68384-h/images/cover.jpg b/old/68384-h/images/cover.jpg Binary files differdeleted file mode 100644 index 9467c1f..0000000 --- a/old/68384-h/images/cover.jpg +++ /dev/null diff --git a/old/68384-h/images/deco1.jpg b/old/68384-h/images/deco1.jpg Binary files differdeleted file mode 100644 index 3fcae0f..0000000 --- a/old/68384-h/images/deco1.jpg +++ /dev/null diff --git a/old/68384-h/images/deco3.jpg b/old/68384-h/images/deco3.jpg Binary files differdeleted file mode 100644 index 20aeda5..0000000 --- a/old/68384-h/images/deco3.jpg +++ /dev/null diff --git a/old/68384-h/images/dropcap-a.jpg b/old/68384-h/images/dropcap-a.jpg Binary files differdeleted file mode 100644 index 9b63ceb..0000000 --- a/old/68384-h/images/dropcap-a.jpg +++ /dev/null diff --git a/old/68384-h/images/dropcap-i.jpg b/old/68384-h/images/dropcap-i.jpg Binary files differdeleted file mode 100644 index 24f9b04..0000000 --- a/old/68384-h/images/dropcap-i.jpg +++ /dev/null diff --git a/old/68384-h/images/dropcap-t.jpg b/old/68384-h/images/dropcap-t.jpg Binary files differdeleted file mode 100644 index 1fa51e0..0000000 --- a/old/68384-h/images/dropcap-t.jpg +++ /dev/null diff --git a/old/68384-h/images/pigs.jpg b/old/68384-h/images/pigs.jpg Binary files differdeleted file mode 100644 index d8f1971..0000000 --- a/old/68384-h/images/pigs.jpg +++ /dev/null |
