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| author | pgww <pgww@lists.pglaf.org> | 2025-12-02 12:30:36 -0800 |
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| committer | pgww <pgww@lists.pglaf.org> | 2025-12-02 12:30:36 -0800 |
| commit | 57eba147ebc62dea3531ffd03259e99fae61710d (patch) | |
| tree | 708c0de7b02f0e8912d283b2f70cbcef04db7d58 /775-h | |
| parent | 9f83c8de87adbe516e2dc6a216b174a5083f170e (diff) | |
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diff --git a/775-h/775-h.htm b/775-h/775-h.htm index 3fa59f9..73b224b 100644 --- a/775-h/775-h.htm +++ b/775-h/775-h.htm @@ -1,17 +1,11 @@ -<?xml version="1.0" encoding="utf-8"?> - -<!DOCTYPE html - PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > - -<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> +<!DOCTYPE html> +<html lang="en"> <head> - <title> - When the Sleeper Wakes, by H. G. Wells - </title> - <style type="text/css" xml:space="preserve"> + <meta charset="utf-8"> + <title>When the Sleeper Wakes | Project Gutenberg</title> + <style> - body { margin:5%; background:#faebd0; text-align:justify} + body { margin:5%; text-align:justify} P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } hr { width: 50%; text-align: center;} @@ -32,99 +26,67 @@ </style> </head> <body> -<pre xml:space="preserve"> - -Project Gutenberg's When the Sleeper Wakes, by Herbert George Wells - -This eBook is for the use of anyone anywhere 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 - - -Title: When the Sleeper Wakes - -Author: Herbert George Wells - -Release Date: August 10, 2008 [EBook #775] -Last Updated: September 17, 2016 - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK WHEN THE SLEEPER WAKES *** - - - - -Produced by John Bean, and David Widger - - - - - -</pre> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 775 ***</div> <p> - <br /><br /> + <br ><br > </p> <h1> WHEN THE SLEEPER WAKES </h1> <p> - <br /> + <br > </p> <h2> By H. G. Wells </h2> <p> - <br /> <br /> + <br > <br > </p> - <hr /> + <hr > <p> - <br /> <br /> + <br > <br > </p> <blockquote> <p class="toc"> - <big><b>CONTENTS</b></big> + <span style="font-size: larger"><b>CONTENTS</b></span> </p> <p> - <br /> <a href="#link2HCH0001"> CHAPTER I. </a> INSOMNIA <br /><br /> - <a href="#link2HCH0002"> CHAPTER II. </a> THE TRANCE <br /><br /> + <br > <a href="#link2HCH0001"> CHAPTER I. </a> INSOMNIA <br ><br > + <a href="#link2HCH0002"> CHAPTER II. </a> THE TRANCE <br ><br > <a href="#link2HCH0003"> CHAPTER III. </a> THE AWAKENING - <br /><br /> <a href="#link2HCH0004"> CHAPTER IV. </a> THE - SOUND OF A TUMULT <br /><br /> <a href="#link2HCH0005"> CHAPTER V. </a> THE - MOVING WAYS <br /><br /> <a href="#link2HCH0006"> CHAPTER VI. </a> THE - HALL OF THE ATLAS <br /><br /> <a href="#link2HCH0007"> CHAPTER VII. </a> IN - THE SILENT ROOMS <br /><br /> <a href="#link2HCH0008"> CHAPTER VIII. </a> THE - ROOF SPACES <br /><br /> <a href="#link2HCH0009"> CHAPTER IX. </a> THE - PEOPLE MARCH <br /><br /> <a href="#link2HCH0010"> CHAPTER X. </a> THE - BATTLE OF THE DARKNESS <br /><br /> <a href="#link2HCH0011"> CHAPTER XI. - </a> THE OLD MAN WHO KNEW EVERYTHING <br /><br /> <a - href="#link2HCH0012"> CHAPTER XII. </a> OSTROG <br /><br /> <a + <br ><br > <a href="#link2HCH0004"> CHAPTER IV. </a> THE + SOUND OF A TUMULT <br ><br > <a href="#link2HCH0005"> CHAPTER V. </a> THE + MOVING WAYS <br ><br > <a href="#link2HCH0006"> CHAPTER VI. </a> THE + HALL OF THE ATLAS <br ><br > <a href="#link2HCH0007"> CHAPTER VII. </a> IN + THE SILENT ROOMS <br ><br > <a href="#link2HCH0008"> CHAPTER VIII. </a> THE + ROOF SPACES <br ><br > <a href="#link2HCH0009"> CHAPTER IX. </a> THE + PEOPLE MARCH <br ><br > <a href="#link2HCH0010"> CHAPTER X. </a> THE + BATTLE OF THE DARKNESS <br ><br > <a href="#link2HCH0011"> CHAPTER XI. + </a> THE OLD MAN WHO KNEW EVERYTHING <br ><br > <a + href="#link2HCH0012"> CHAPTER XII. </a> OSTROG <br ><br > <a href="#link2HCH0013"> CHAPTER XIII. </a> THE END OF THE OLD - ORDER <br /><br /> <a href="#link2HCH0014"> CHAPTER XIV. </a> FROM - THE CROW’S NEST <br /><br /> <a href="#link2HCH0015"> CHAPTER XV. </a> PROMINENT - PEOPLE <br /><br /> <a href="#link2HCH0016"> CHAPTER XVI. </a> THE - AEROPHILE <br /><br /> <a href="#link2HCH0017"> CHAPTER XVII. </a> THREE - DAYS <br /><br /> <a href="#link2HCH0018"> CHAPTER XVIII. </a> GRAHAM - REMEMBERS <br /><br /> <a href="#link2HCH0019"> CHAPTER XIX. </a> OSTROG’S - POINT OF VIEW <br /><br /> <a href="#link2HCH0020"> CHAPTER XX. </a> IN - THE CITY WAYS <br /><br /> <a href="#link2HCH0021"> CHAPTER XXI. </a> THE - UNDER SIDE <br /><br /> <a href="#link2HCH0022"> CHAPTER XXII. </a> THE - STRUGGLE IN THE COUNCIL HOUSE <br /><br /> <a href="#link2HCH0023"> + ORDER <br ><br > <a href="#link2HCH0014"> CHAPTER XIV. </a> FROM + THE CROW’S NEST <br ><br > <a href="#link2HCH0015"> CHAPTER XV. </a> PROMINENT + PEOPLE <br ><br > <a href="#link2HCH0016"> CHAPTER XVI. </a> THE + AEROPHILE <br ><br > <a href="#link2HCH0017"> CHAPTER XVII. </a> THREE + DAYS <br ><br > <a href="#link2HCH0018"> CHAPTER XVIII. </a> GRAHAM + REMEMBERS <br ><br > <a href="#link2HCH0019"> CHAPTER XIX. </a> OSTROG’S + POINT OF VIEW <br ><br > <a href="#link2HCH0020"> CHAPTER XX. </a> IN + THE CITY WAYS <br ><br > <a href="#link2HCH0021"> CHAPTER XXI. </a> THE + UNDER SIDE <br ><br > <a href="#link2HCH0022"> CHAPTER XXII. </a> THE + STRUGGLE IN THE COUNCIL HOUSE <br ><br > <a href="#link2HCH0023"> CHAPTER XXIII. </a> WHILE THE AEROPLANES WERE - COMING <br /><br /> <a href="#link2HCH0024"> CHAPTER XXIV. </a> THE - COMING OF THE AEROPLANES <br /><br /> + COMING <br ><br > <a href="#link2HCH0024"> CHAPTER XXIV. </a> THE + COMING OF THE AEROPLANES <br ><br > </p> </blockquote> <p> - <br /> <br /> + <br > <br > </p> - <hr /> + <hr > <p> - <br /> <br /> <a name="link2HCH0001" id="link2HCH0001"> + <br > <br > <a id="link2HCH0001"> <!-- H2 anchor --> </a> </p> <h2> @@ -528,11 +490,11 @@ Produced by John Bean, and David Widger doctor to be found?” </p> <p> - <a name="link2HCH0002" id="link2HCH0002"> + <a id="link2HCH0002"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER II. THE TRANCE @@ -862,11 +824,11 @@ Produced by John Bean, and David Widger he said at last. He sighed “He will never wake again.” </p> <p> - <a name="link2HCH0003" id="link2HCH0003"> + <a id="link2HCH0003"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER III. THE AWAKENING @@ -1038,11 +1000,11 @@ Produced by John Bean, and David Widger collapsed limply, he staggered forward and fell upon his face. </p> <p> - <a name="link2HCH0004" id="link2HCH0004"> + <a id="link2HCH0004"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER IV. THE SOUND OF A TUMULT @@ -1727,11 +1689,11 @@ Produced by John Bean, and David Widger which the three men had been standing. </p> <p> - <a name="link2HCH0005" id="link2HCH0005"> + <a id="link2HCH0005"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER V. THE MOVING WAYS @@ -1893,11 +1855,11 @@ Produced by John Bean, and David Widger in a lift and moving swiftly upward. </p> <p> - <a name="link2HCH0006" id="link2HCH0006"> + <a id="link2HCH0006"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER VI. THE HALL OF THE ATLAS @@ -2346,11 +2308,11 @@ Produced by John Bean, and David Widger pitifully conspicuous. And all about him, the world was—strange. </p> <p> - <a name="link2HCH0007" id="link2HCH0007"> + <a id="link2HCH0007"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER VII. IN THE SILENT ROOMS @@ -2402,7 +2364,7 @@ Produced by John Bean, and David Widger Russian. Then he noticed a suggestion of mutilated English about certain of the words. </p> -<pre xml:space="preserve"> +<pre> “oi Man huwdbi Kin” </pre> <p> @@ -2717,7 +2679,7 @@ Produced by John Bean, and David Widger </p> <p> Graham began pacing the room. Howard stood near the door watching him. The - implication of Howard’s suggestion was only half evident to Graham + implication of Howard’s suggestion was only half evident to Graham. Company? Suppose he were to accept the proposal, demand some sort of <i>company</i>? Would there be any possibilities of gathering from the conversation of this additional person some vague inkling of the struggle that had broken @@ -2801,7 +2763,7 @@ Produced by John Bean, and David Widger he was afraid of Fear. </p> <p> - Presently he found himself reasoning with himself This imprisonment was + Presently he found himself reasoning with himself. This imprisonment was unaccountable, but no doubt the legal forms—new legal forms—of the time permitted it. It must, of course, be legal. These people were two hundred years further on in the march of civilisation than the Victorian @@ -2842,11 +2804,11 @@ Produced by John Bean, and David Widger “It is expedient for us that one man should die for the people.” </p> <p> - <a name="link2HCH0008" id="link2HCH0008"> + <a id="link2HCH0008"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER VIII. THE ROOF SPACES @@ -2881,7 +2843,7 @@ Produced by John Bean, and David Widger <p> Graham walked across the room and came back to the ventilator again. He saw the head of a man pass near. There was a sound of whispering. Then a - smart blow on some metallic substance, effort, voices, and the vans + smart blow on some metallic substance, effort, voices, and the fans stopped. A gust of snowflakes whirled into the room, and vanished before they touched the floor. “Don’t be afraid,” said a voice. </p> @@ -3158,7 +3120,7 @@ Produced by John Bean, and David Widger <p> Over the ridge, following his guide’s example, he turned about and slid backward down the opposite slope very swiftly, amid a little avalanche of - snow While he was sliding he thought of what would happen if some broken + snow. While he was sliding he thought of what would happen if some broken gap should come in his way. At the edge he stumbled to his feet ankle deep in slush thanking heaven for an opaque footing again. His guide was already clambering up a metal screen to a level expanse. @@ -3423,11 +3385,11 @@ Produced by John Bean, and David Widger of innumerable men. </p> <p> - <a name="link2HCH0009" id="link2HCH0009"> + <a id="link2HCH0009"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER IX. THE PEOPLE MARCH @@ -3688,11 +3650,11 @@ Produced by John Bean, and David Widger spaciousness of hall. Tramp, tramp, tramp, tramp. </p> <p> - <a name="link2HCH0010" id="link2HCH0010"> + <a id="link2HCH0010"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER X. THE BATTLE OF THE DARKNESS @@ -4126,11 +4088,11 @@ Produced by John Bean, and David Widger hands. </p> <p> - <a name="link2HCH0011" id="link2HCH0011"> + <a id="link2HCH0011"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XI. THE OLD MAN WHO KNEW EVERYTHING @@ -4718,11 +4680,11 @@ Produced by John Bean, and David Widger more. </p> <p> - <a name="link2HCH0012" id="link2HCH0012"> + <a id="link2HCH0012"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XII. OSTROG @@ -5348,11 +5310,11 @@ Produced by John Bean, and David Widger those myriads was watching him. </p> <p> - <a name="link2HCH0013" id="link2HCH0013"> + <a id="link2HCH0013"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XIII. THE END OF THE OLD ORDER @@ -5424,7 +5386,7 @@ Produced by John Bean, and David Widger </p> <p> Graham hesitated, and then walked forward to where the broken verge of - wall dropped sheer. He I stood looking down, a lonely, tall, black figure + wall dropped sheer. He stood looking down, a lonely, tall, black figure against the sky. </p> <p> @@ -5502,11 +5464,11 @@ Produced by John Bean, and David Widger this as well? </p> <p> - <a name="link2HCH0014" id="link2HCH0014"> + <a id="link2HCH0014"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XIV. FROM THE CROW’S NEST @@ -5623,7 +5585,7 @@ Produced by John Bean, and David Widger Not a familiar outline anywhere broke the cluster of gigantic shapes below. St. Paul’s he knew survived, and many of the old buildings in Westminster, embedded out of sight, arched over and covered in among the - giant growths of this great age. The Themes, too, made no fall and gleam + giant growths of this great age. The Thames, too, made no fall and gleam of silver to break the wilderness of the city; the thirsty water mains drank up every drop of its waters before they reached the walls. Its bed and estuary scoured and sunken, was now a canal of sea water and a race of @@ -5719,7 +5681,7 @@ Produced by John Bean, and David Widger dialects, it was the everyday language of two-thirds of the people of the earth. On the Continent, save as remote and curious survivals, three other languages alone held sway—German, which reached to Antioch and Genoa - and jostled Spanish-English at Gdiz, a Gallicised Russian which met the + and jostled Spanish-English at Cadiz, a Gallicised Russian which met the Indian English in Persia and Kurdistan and the “Pidgin” English in Pekin, and French still clear and brilliant, the language of lucidity, which shared the Mediterranean with the Indian English and German and reached @@ -6044,7 +6006,7 @@ Produced by John Bean, and David Widger <p> He lowered the glass and looked at her. “Waving his hands about almost as if he was praying. I wonder what he is up to. Worshipping the sun? There - weren’t Parses in this country in his time, were there?” + weren’t Parsees in this country in <i>his</i> time, were there?” </p> <p> He looked again. “He’s stopped it now. It was a chance attitude, I @@ -6055,11 +6017,11 @@ Produced by John Bean, and David Widger dear eyes—just sleeping. It’s a wonderful world.” </p> <p> - <a name="link2HCH0015" id="link2HCH0015"> + <a id="link2HCH0015"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XV. PROMINENT PEOPLE @@ -6212,7 +6174,7 @@ Produced by John Bean, and David Widger </p> <p> “As a matter of fact we bought him,” said Lincoln. “Partly. And partly he - was afraid of Ostrog Everything rested with him.” + was afraid of Ostrog. Everything rested with him.” </p> <p> He turned sharply to introduce the Surveyor-General of the Public School @@ -6585,11 +6547,11 @@ Produced by John Bean, and David Widger warning in her expression, bowed to her and turned to accompany Lincoln. </p> <p> - <a name="link2HCH0016" id="link2HCH0016"> + <a id="link2HCH0016"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XVI. THE AEROPHILE @@ -6616,7 +6578,7 @@ Produced by John Bean, and David Widger useless. They were built of enormous size—the usual stretch of wing being six hundred feet or more, and the length of the fabric a thousand feet. They were for passenger traffic alone. The lightly swung car they - carried was from a hundred to a hundred and fifty feet in length. It Was + carried was from a hundred to a hundred and fifty feet in length. It was hung in a peculiar manner in order to minimise the complex vibration that even a moderate wind produced, and for the same reason the little seats within the car—each passenger remained seated during the voyage—were @@ -6832,7 +6794,7 @@ Produced by John Bean, and David Widger most part the reefs and skerries of ruins, the wreckage of suburban villas, stood among their streets and roads, queer islands amidst the levelled expanses of green and brown, abandoned indeed by the inhabitants - years since, but too substantial, it seemed’, to be cleared out of the way + years since, but too substantial, it seemed, to be cleared out of the way of the wholesale horticultural mechanisms of the time. </p> <p> @@ -7129,11 +7091,11 @@ Produced by John Bean, and David Widger oscillation of waved white handkerchiefs and waving hands. </p> <p> - <a name="link2HCH0017" id="link2HCH0017"> + <a id="link2HCH0017"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XVII. THREE DAYS @@ -7350,11 +7312,11 @@ Produced by John Bean, and David Widger again until three full days were past. </p> <p> - <a name="link2HCH0018" id="link2HCH0018"> + <a id="link2HCH0018"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XVIII. GRAHAM REMEMBERS @@ -7845,11 +7807,11 @@ Produced by John Bean, and David Widger questioningly, and then he turned from her towards the Wind Vane office. </p> <p> - <a name="link2HCH0019" id="link2HCH0019"> + <a id="link2HCH0019"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XIX. OSTROG’S POINT OF VIEW @@ -8177,11 +8139,11 @@ Produced by John Bean, and David Widger Ostrog, after a pause, decided not to speak, and bowed deferentially. </p> <p> - <a name="link2HCH0020" id="link2HCH0020"> + <a id="link2HCH0020"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XX. IN THE CITY WAYS @@ -8320,8 +8282,8 @@ Produced by John Bean, and David Widger of the little brown, green and pink council cheques for small amounts, printed with a blank payee. Asano had several with him, and at the first opportunity he supplied the gaps in his set. They were printed not on - tearable paper, but on a semi-transparent fabric of silken, flexibility, - interwoven with silk. Across them all sprawled a facsimile of Graham’s + tearable paper, but on a semi-transparent fabric of silken flexibility, + interwoven with silk. Across them all sprawled a fac-simile of Graham’s signature, his first encounter with the curves and turns of that familiar autograph for two hundred and three years. </p> @@ -8659,7 +8621,7 @@ Produced by John Bean, and David Widger a few here and there. You will see the mothers—most young women in London are mothers. In that class it is considered a creditable thing to have one child—a proof of animation. Few middle class people have - more than one. With the Labour Company it is different. As for motherhood + more than one. With the Labour Company it is different. As for motherhood! They still take an immense pride in the children. They come here to look at them quite often.” </p> @@ -9040,11 +9002,11 @@ Produced by John Bean, and David Widger sentence went unfinished. </p> <p> - <a name="link2HCH0021" id="link2HCH0021"> + <a id="link2HCH0021"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XXI. THE UNDER SIDE @@ -9313,7 +9275,7 @@ Produced by John Bean, and David Widger <p> “He knows little, but he told me that the Black Police would have arrived here before the people knew—had not someone in the Wind-Vane Offices - Learnt. He said a girl.” + learnt. He said a girl.” </p> <p> “A girl? Not?” @@ -9328,11 +9290,11 @@ Produced by John Bean, and David Widger “To your Wards, to your Wards. Every man get arms. Every man to his Ward!” </p> <p> - <a name="link2HCH0022" id="link2HCH0022"> + <a id="link2HCH0022"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XXII. THE STRUGGLE IN THE COUNCIL HOUSE @@ -9354,7 +9316,7 @@ Produced by John Bean, and David Widger again, dinning that refrain into Graham’s ear until it haunted him. This person stayed close beside Graham and Asano on the swift way, shouting to the people who swarmed on the lower platforms as he rushed past them. His - cry about Ostrog alternated with some incomprehensible orders Presently he + cry about Ostrog alternated with some incomprehensible orders. Presently he went leaping down and disappeared. </p> <p> @@ -9635,7 +9597,7 @@ Produced by John Bean, and David Widger not three yards from his face. Then hands were upon him again. </p> <p> - He was being pulled in two, directions now. It seemed as though people + He was being pulled in two directions now. It seemed as though people were shouting to him. He wanted to understand and could not. Someone was clutching about his thighs, he was being hoisted in spite of his vigorous efforts. He understood suddenly, he ceased to struggle. He was lifted up @@ -9859,11 +9821,11 @@ Produced by John Bean, and David Widger stages, meant Ostrog; against Ostrog he was fighting for the world. </p> <p> - <a name="link2HCH0023" id="link2HCH0023"> + <a id="link2HCH0023"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XXIII. WHILE THE AEROPLANES WERE COMING @@ -9971,7 +9933,7 @@ Produced by John Bean, and David Widger shadows into the circle of light. </p> <p> - “This is the girl who told us what Ostrog had dune,” he said. + “This is the girl who told us what Ostrog had done,” he said. </p> <p> Her face was aflame, and the heavy coils of her black hair fell about her @@ -10136,7 +10098,7 @@ Produced by John Bean, and David Widger wait, he insisted no other course was possible. “We must know where you are,” he said. “At any moment a crisis may arise needing your presence and decision.” The room was a luxurious little apartment with news machines - and a broken mirror that had once been en <i>rapport</i> with the crow’s + and a broken mirror that had once been <i>en rapport</i> with the crow’s nest specula. It seemed a matter of course to Graham that Helen should stop with him. </p> @@ -10182,7 +10144,7 @@ Produced by John Bean, and David Widger successes from the dense felt of fighting strands about the flying stages. Section after section of the Labour Societies reported itself assembled, reported itself marching, and vanished from knowledge into the labyrinth - of that warfare What was happening there? Even the busy ward leaders did + of that warfare. What was happening there? Even the busy ward leaders did not know. In spite of the opening and closing of doors, the hasty messengers, the ringing of bells and the perpetual clitter-clack of recording implements, Graham felt isolated, strangely inactive, @@ -10627,11 +10589,11 @@ Produced by John Bean, and David Widger turned his head with curt swift directions upon his bloodless lips. </p> <p> - <a name="link2HCH0024" id="link2HCH0024"> + <a id="link2HCH0024"> <!-- H2 anchor --> </a> </p> <div style="height: 4em;"> - <br /><br /><br /><br /> + <br ><br ><br ><br > </div> <h2> CHAPTER XXIV. THE COMING OF THE AEROPLANES @@ -10647,7 +10609,7 @@ Produced by John Bean, and David Widger that stage, came every now and then between the staccato of shots from the popular side. One of these men was describing to the other how he had seen a man down below there dodge behind a girder, and had aimed at a guess and - hit him cleanly as he dodged too far “He’s down there still,” said the + hit him cleanly as he dodged too far. “He’s down there still,” said the marksman. “See that little patch. Yes. Between those bars.” A few yards behind them lay a dead stranger, face upward to the sky, with the blue canvas of his jacket smoldering in a circle about the neat bullet hole on @@ -10656,11 +10618,11 @@ Produced by John Bean, and David Widger Gigantic behind them, athwart the carrier lay the captured aeropile. </p> <p> - “I can’t see him now,” said the second man in a ton of provocation. + “I can’t see him <i>now</i>,” said the second man in a ton of provocation. </p> <p> The marksman became foul-mouthed and high-voiced in his earnest endeavour - to make things plain And suddenly, interrupting him, came a noisy shouting + to make things plain. And suddenly, interrupting him, came a noisy shouting from the substage. </p> <p> @@ -10700,7 +10662,7 @@ Produced by John Bean, and David Widger city knew, that the Master, raw learner though he was, intended to fly this machine himself, was coming even now to take control of it, would let no other man attempt it. “He who takes the greatest danger, he who bears - the heaviest burden, that man is King,” so the Master was reported to have + the heaviest burthen, that man is King,” so the Master was reported to have spoken. And even as this man cheered, and while the beads of sweat still chased one another from the disorder of his hair, he heard the thunder of a greater tumult, and in fitful snatches the beat and impulse of the @@ -11043,377 +11005,8 @@ Produced by John Bean, and David Widger very near. </p> <p> - <br /><br /> + <br ><br > </p> -<pre xml:space="preserve"> - - - - - -End of Project Gutenberg’s When the Sleeper Wakes, by Herbert George Wells - -*** END OF THIS PROJECT GUTENBERG EBOOK WHEN THE SLEEPER WAKES *** - -***** This file should be named 775-h.htm or 775-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/7/7/775/ - -Produced by John Bean, and David Widger - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions 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. 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