## The Project Gutenberg eBook of Punch, or the London Charivari, Vol. 104, March 25, 1893

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: Punch, or the London Charivari, Vol. 104, March 25, 1893

Author: Various

Release date: September 22, 2007 [eBook #22724]

Language: English

Credits: Produced by Lesley Halamek, Juliet Sutherland and the
Online Distributed Proofreading Team at http://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 104, MARCH 25, 1893 ***

# PUNCH, OR THE LONDON CHARIVARI.

## Volume 104, March 25th 1893

### edited by Sir Francis Burnand

[pg 133]

### THE PANGS OF MATRIMONY!!!

Casual Acquaintance. "Hear you're to be Married, Mr. Ribbes. Congratulate you!" Mr. Ribbes. "Much obliged, but I dunno so much about Congratulations. It's corstin' me a pretty Penny, I tell yer. Mrs. Ribbes as is to be, she wants 'er Trousseau, yer know; an' then there's the Furnishin', an' the Licence, an' the Parson's Fees; an' then I 'ave to give 'er an' 'er Sister a bit o' Jool'ry a-piece; an' wot with one thing an' another—she's a 'eavy Woman, yer know, Thirteen Stun odd—well, I reckon she'll 'a corst me pretty near Two-an'-Eleven a Pound afore I git 'er 'Ome!"

## SMALL BY DEGREES.

### A Story of Defiance not Defence.

There was once a Battalion of Volunteers with its full complement of field, company, and non-commissioned officers, and rank and file. And according to experts the Regiment was a most valuable addition to the national defence. One day a General, covered over with gold lace and wearing a cocked hat, rode up to the Colonel and called him out.

"Colonel," said the General, "we are thinking of giving over your command to a C.O. of a Dépôt Centre. It won't interfere with you much and give you less to do. You may still call yourself Colonel—not that I call you so myself. I mean off parade."

But the Colonel did not seem to see it, and so he sent in his papers and rode away.

Then the General from the War Office called up the two remaining Field Officers.

"Majors" said he, "it seems to us we can help you a good deal by appointing a Major from a service battalion as Adjutant. Then you can rank beneath him, and he can look after you and the two half battalions you each of you are supposed to command. You may still call yourselves Majors—not that I call you so myself. I mean off parade."

But the Majors did not seem to see it, so they sent in their papers too.

Then the General from the War Office called up the Company Officers.

"Gentlemen," said he, "we shall continue the snubbing, of which you have had so much experience. You will do all sorts of new work, and go to all sorts of fresh expense in the near future. Not that it will increase your dignity—not a bit of it. However, you may still call yourselves Captains and Lieutenants—not that I call you so myself. I mean off parade."

But the Company Officers did not seem to see it, so they sent in their papers and marched away. Then the General from the War Office called up the rest of the Regiment.

"Now, Non-commissioned Officers and Men," said he, "you have no one to command you, and no one to pay for your marches out, prizes, and the rest of it. But don't let that bother you. You may still call yourselves Soldiers—not that I call you so myself. I mean off parade."

But the remainder of the Regiment did not seem to see it, so they sent in their resignations, and vanished.

Then the Officer from the War Office rode towards Pall Mall.

"It won't interfere with me much," said he, "and give the Department less to do. And I can still call myself General—though I scarcely deserve the title, either on or off parade!"

### HOW IT STRIKES "THE CONTEMPORARY."

["Why should not women take the B.A. degree?... Unfortunately the older Universities have resented every attempt at breaking down their cherished exclusiveness."—From an Article in "The Contemporary Review" for March.]

Despotic Dons' dominion

Still subjugates us all,

They scoff at our opinion,

Our purposes miscall;

Will no deliverer appear,

And is it vainly, as we fear,

We hold our meetings every year

Within St. James's Hall?

Our wrongs, if brought to knowledge,

Would surely move your hearts,

Degreeless from her College

The Wrangler-ess departs;

And shall not too the maids, who can

Give all the usages of ἀν,

As well as any living man

Be Bachelors of Arts?

Persuasive or abusive

We fail our point to gain,

Disgracefully exclusive

These ancient seats remain:

But yet a future we foresee

When Women will the rulers be,

And Men will beg a Pass-degree,

Will beg, and beg in vain!

———

P.S.—The pith of our petition

Is seldom understood,

It is not all ambition,

Though this, no doubt, is good;

But, speaking frankly, we declare

The point for which we really care

Is just to gain the right to wear

That most becoming hood!

[pg 134]

## THE WITLER'S WISION OF WENGEANCE.

### (In a slightly Pickwickian Sense.)

Being the Dream of an angry "Brother Bung" after attending the Meeting at St. James's Hall, and trying to soothe himself with a dip into Dickens.

["He" Lord Burton, "asked why this drastic, this dishonest, this catchpenny, this gerrymandering Bill should have been brought in?.... They had heard much of late about the Nonconformist Conscience, which was said to be the backbone of the Liberal Party. He firmly believed that the Bill had been brought forward to suit the Nonconformist Conscience, to pander to the hypocritical self-righteousness, and the sham respectability of a certain class."—Lord Burton, at the St. James's Hall Meeting, on the Direct Veto Bill.]

Mr. Witler, the elder, gave vent to an extraordinary sound, which, being neither a groan, nor a grunt, nor a gasp, nor a howl, nor a hoot, nor a hiss, nor a shout, nor a shriek, yet seemed to partake in some degree of the character of all these inarticulate laryngeal exercises. It was a big vocal blend, and a stentorian; it made him pant and turn apoplectically purple in the face, it shook the house, and very nearly "brought it down."

[pg 135]

Mr. Witler's "wocal wagaries" (as his son called them) when he was roused, were something tremendous, earthquaky, appalling!

Mr. Swigslop Stiggins, a leading Shepherd of the Nonconformist Rechabite Flock, unwarned by this nondescript sound, which he understood to betoken remorse or repentance, in fact, an awakening of the "Nonconformist Conscience," in a somewhat unlikely quarter, looked about him, rubbed his hands, wept, smiled, wept again, and then mechanically uttering a guttural "Hear! Hear!" (as though he were listening, in the House of Commons, to the jocund Harcourt, or the jocular Lawson, or the robustious T. W. Russell, or the astute Caine) and then, walking across the room to a well-remembered pigeon-hole, took thence an official-looking scroll, sat down, formally unfolded it, cleared his throat, and began with pompous complacency to read aloud its title, preamble, clauses, and provisions, compulsory regulations, and peremptory prohibitions to the apparently semi-asphyxiated Mr. Witler.

The elder Mr. Witler, who still continued to make various strange and uncouth attempts to appear indifferent, offered not a single word during these proceedings; but when Stiggins stopped for breath, previous to a second reading, he darted upon him, and, snatching the scroll from his hand, first buffeted him briskly about the head therewith, and then threw it into the fire. Then, seizing the astonished gentleman firmly by the collar, he suddenly fell to kicking him most furiously, accompanying every application of his boots to Mr. Stiggins's person with sundry violent and incoherent anathemas, such as—"Blatant Barabbas!"—"Bumptious busybody!"—"Unblushing bandit!"—"Barefaced spoliator!"—"Hypocritical humbug!"—"Iniquitous inquisitor!"—"Fanatical faddist!"—"Self-righteous sneak!"—"Sham saint!"—"Jerrymandering Jeremy Diddler!"—"Pragmatical pump!"—"Little Bethelite Boanerges!" and "Nonconformist Tartuffe!!!"

"Sammy," said Mr. Witler, "put my cap on tight for me!" Sam dutifully adjusted the cap more firmly on his father's head, and the old gentleman, resuming his kicking with greater agility than before, tumbled Mr. Stiggins through the bar, and through the passage, out at the front door, and so into the street, the kicking continuing the whole way, and increasing in vehemence rather than diminishing every time the boot was lifted.

It was a beautiful and exhilarating sight (to "the Trade") to see the water-drinker writhing in Mr. Witler's grasp, and his whole frame quivering with anguish as kick followed kick in rapid succession; it was a still more exciting spectacle (to Bungdom all round, from boisterous Lord Burton to the humblest rural Boniface) to behold Mr. Witler, after a powerful struggle, immersing Mr. Stiggins's head in a horse-trough full of water, and holding it there until he was half suffocated.

"There!" said Mr. Witler, throwing all his energy into one most complicated kick, as he at length permitted Mr. Stiggins to withdraw his head from the trough, "send any vun o' them villainous Vetoists, from burly Sir Villiam Barabbas hisself down to the pettifoggingest Local Hoptioniser in Little Peddlington, here, or to St. James's 'All, or the Alhambra, or elseveres in public meeting or privit pub, and I'll pound him to a argymentative jelly fust, and drownd him in public-speritted opinion arterwards!"

"Sammy" (added Mr. Witler, puffing and perspiring freely), "help me in, and fill me a stiff glass o' Speshal Scotch; for I'm out of breath, my boy!"

### RATHER SUSPICIOUS.

Mistress (to Housekeeper, after "the Young Person" has left the room). "Really, Wilkins, I could not engage that Young Person. She is too Ugly by far!"

Housekeeper. "Very sorry, Mum. But you said so particularly that I was to look out for a good Plain Cook,—'quite a Plain Cook,' you said, Mum,—that I thought you had some Particular Reason——"

Very Natural.—Mrs. R. pays great attention to the Parliamentary debates, and listens attentively while her Nephew reads the speeches as reported in The Times. Last Thursday he was in the midst of the discussion on the Welsh Liquor-Traffic Bill, and came to this: "Mr. Lloyd-George, whose opening remarks were interrupted by a Count——" Whereupon his Aunt exclaimed, "How very rude! What was the Count's name? And how does a Count come to be in the House of Commons?"

[pg 136]

## PILL-DOCTOR HERDAL.

#### (Translated from the Original Norwegian by Mr. Punch.)

### THIRD ACT.

> On the right, a smart verandah, attached to Dr. Herdal's dwelling-house, and communicating with the Drawing-room and Dispensary by glass-doors. On the left a tumble-down rockery, with a headless plaster Mercury. In front, a lawn, with a large silvered glass globe on a stand. Chairs and tables. All the furniture is of galvanised iron. A sunset is seen going on among the trees.

Dr. Herdal (comes out of Dispensary-door cautiously, and whispers). Hilda, are you in there?

> [Taps with fingers on Drawing-room door.

Hilda (comes out with a half-teasing smile). Well—and how is the Rainbow-powder getting on, Dr. Herdal?

Dr. Herd. (with enthusiasm). It is getting on simply splendidly. I sent the new Assistant out to take a little walk, so that he should not be in the way. There is Arsenic in the powder, Hilda, and Digitalis too, and Strychnine, and the best Beetle-killer!

Hilda (with happy, wondering eyes). Lots of Beetle-killer? And you will give some of it to her, to make her free and buoyant. I think one really has the right—when people happen to stand in the way——!

Dr. Herd. Yes, you may well say so, Hilda. Still—(dubiously)—it does occur to me that such doings may perhaps be misunderstood—by the narrow-minded and conventional.

> [They go on the lawn, and sit down.

Hilda (with an outburst). Oh, that all seems to me so foolish—so irrelevant! As if the whole thing wasn't intended as an Allegory!

Dr. Herd. (relieved). Ah, so long as it is merely allegorical of course—— But what is it an allegory of, Hilda?

Hilda (reflects in vain). How can you sit there and ask such questions? I suppose I am a symbol, of some sort.

Dr. Herd. (as a thought flashes upon him). A cymbal? That would certainly account for your bra—— Then am I a cymbal too, Hilda?

Hilda. Why yes—what else? You represent the Artist-worker, or the Elder Generation, or the Pursuit of the Ideal, or a Bilious Conscience—or something or other. You're all right!

Dr. Herd. (shakes his head). Am I? But I don't quite see—— Well, well, cymbals are meant to clash a little. And I see plainly now that I ought to prescribe this powder for as many as possible. Isn't it terrible, Hilda, that so many poor souls never really die their own deaths—pass out of the world without even the formality of an inquest? As the district Coroner, I feel strongly on the subject.

Hilda. And, when the Coroner has finished sitting on all the bodies, perhaps—but I shan't tell you now. (Speaks as if to a child.) There, run away and finish making the Rainbow-powder, do!

Dr. Herd. (skips up into the Dispensary). I will—I will! Oh, I do feel such a troll—such a light-haired, light-headed old devil!

Rübub (enters garden-gate). I have had my dismissal—but I'm not going without saying good-bye to Mrs. Herdal.

Hilda. Dr. Herdal would disapprove—you really must not, Mr. Kalomel. And, besides, Mrs. Herdal is not at home. She is in the town buying me a reel of cotton. Dr. Herdal is in. He is making real Rainbow powders for regenerating everybody all round. Won't that be fun?

Rübub. Making powders? Ha! ha! But you will see he won't take one himself. It is quite notorious to us younger men that he simply daren't do it.

Hilda. (with a little snort of contempt). Oh, I daresay—that's so likely! (Defiantly.) I know he can, though. I've seen him!

Rübub. There is a tradition that he once—but not now—he knows better. I think you said Mrs. Herdal was in the town? I will go and look for her. I understand her so well. [Goes out by gate.

Hilda (calls). Dr. Herdal! Come out this minute. I want you—awfully!

Dr. Herd. (puts his head out). Just when I am making such wonderful progress with the powder! (Comes down and leans on a table.) Have you hit upon some way of giving it to Aline? I thought if you were to put it in her arrowroot——?

Hilda. No, thanks. I won't have that now. I have just recollected that it is a rule of mine never to injure anybody I have once been formally introduced to. Strangers don't count. No, poor Mrs. Herdal mustn't take that powder!

Dr. Herd. (disappointed). Then is nothing to come of making Rainbow powders, after all, Hilda?

Hilda (looks hard at him). People say you are afraid to take your own physic. Is that true?

Dr. Herd. Yes, I am. (After a pause—with candour.) I find it invariably disagrees with me.

Hilda (with a half-dubious smile). I think I can understand that. But you did once. You swallowed your own pills that day at the table d'hôte, ten years ago. And I heard a harp in the air, too!

Dr. Herd. (open-mouthed). I don't think that could have been Me. I don't play any instrument. And that was quite a special thing, too. It's not every day I can do it. Those were only bread pills, Hilda.

Hilda (with flashing eyes). But you rolled them; you took them. And I want to see you stand once more free and high and great, swallowing your own preparations. (Passionately.) I will have you do it! (Imploringly.) Just once more, Dr. Herdal!

Dr. Herd. If I did, Hilda, my medical knowledge, slight as it is, leads me to the conclusion that I should in all probability burst.

Hilda (looks deeply into his eyes). So long as you burst beautifully! But no doubt that Miss Blakdraf——

Dr. Herd. You must believe in me utterly and entirely. I will do anything—anything, Hilda, to provide you with agreeable entertainment. I will swallow my own powder! (To himself, as he goes gravely up to Dispensary.) If only the drugs are sufficiently adulterated!

> [Goes in; as he does so, the New Assistant enters the garden in blue spectacles, unseen by Hilda, and follows him, leaving open the glass-door.

Senna Blakdraf (comes wildly out of Drawing-room). Where is dear Dr. Herdal? Oh, Miss Wangel, he has discharged me—but I can't—I simply can't live away from that lovely ledger!

Hilda (jubilantly). At this moment Dr. Herdal is in the Dispensary, taking one of his own powders.

Senna (despairingly). But—but it is utterly impossible! Miss Wangel, you have such a firm hold of him—don't let him do that!

Hilda. I have already done all I can.

> [Rübub appears, talking confidentially with Mrs. Herdal, at gate.

Senna. Oh, Mrs. Herdal, Rübub! The Pill-Doctor is going to take one of his own preparations. Save him—quick!

Rübub (with cold politeness). I am sorry to hear it—for his sake. But it would be quite contrary to professional etiquette to prevent him.

Mrs. Herd. And I never interfere with my husband's proceedings. I know my duty, Miss Blakdraf, if others don't!

[pg 137]

Hilda (exulting with great intensity). At last! Now I see him in there, great and free again, mixing the powder in a spoon—with jam!.... Now he raises the spoon. Higher—higher still! (A gulp is audible from within.) There, didn't you hear a harp in the air? (Quietly.) I can't see the spoon any more. But there is one he is striving with, in blue spectacles!

### "My—my Pill-Doctor!"

The New Assistant's Voice (within). The Pill-Doctor Herdal has taken his own powder!

Hilda (as if petrified). That voice! Where have I heard it before? No matter—he has got the powder down! (Waves a shawl in the air, and shrieks with wild jubilation.) It's too awfully thrilling! My—my Pill-Doctor!

The N. A. (comes out on verandah). I am happy to inform you that—as, to avoid accidents, I took the simple precaution of filling all the Dispensary-jars with Camphorated Chalk—no serious results may be anticipated from Dr. Herdal's rashness. (Removes spectacles.) Nora, don't you know me?

Hilda (reflects). I really don't remember having the pleasure——And I'm sure I heard a harp in the air!

Mrs. Herd. I fancy, Miss Wangel, it must have been merely a bee in your bonnet!

The N. A. (tenderly). Still the same little singing-bird! Oh, Nora, my long-lost lark!

Hilda (sulky). I'm not a lark—I'm a Bird of Prey—and, when I get my claws into anything——!

The N. A. Macaroons, for instance? I remember your tastes of old. See, Nora! (Produces a paper-bag from his coat-tail pocket.) They were fresh this morning!

Hilda (wavering). If you insist on calling me Nora, I think you must be just a little mad yourself.

The N. A. We are all a little mad—in Norway. But Torvald Helmer is sane enough still to recognise his own little squirrel again! Surely, Nora, your education is complete at last—you have gained the experience you needed?

Hilda (nods slowly). Yes, Torvald, you're right enough there. I have thought things out for myself, and have got clear about them. And I have quite made up my mind that Society and the Law are all wrong, and that I am right.

Helmer (overjoyed). Then you have learnt the Great Lesson, and are fit to undertake the charge of your children's education at last! You've no notion how they've grown! Yes, Nora, our marriage will be a true marriage now. You will come back to the Doll's-House, won't you?

Hilda-Nora-Helmer-Wangel (hesitates). Will you let me forge cheques if I do, Torvald?

Helmer (ardently). All day. And at night, Nora, we will falsify the accounts—together!

H. N. H. W. (throws herself into his arms, and helps herself to macaroons). That will be fearfully thrilling! My—my Manager!

Dr. Herd. (comes out, very pale, from Dispensary). Hilda, I did take the——I'm afraid I interrupt you?

Helmer. Not in the least. But this lady is my little lark, and she is going back to her cage by the next steamer.

Dr. Herd. (bitterly). Am I never to have a gleam of happiness—? But stay—do I see my little Senna once more?

Rübub. Pardon me—my little Senna. She always believed so firmly in my pill!

Dr. Herd. Well—well. If it must be. Rübub, I will take you into partnership, and we will take out a patent for that pill, jointly. Aline, my poor dear Aline, let us try once more if we cannot bring a ray of brightness into our cheerless home!

Mrs. Herd. Oh, Haustus, if only we could—but why do you propose that to me—now?

Dr. Herd. (softly—to himself). Because I have tried being a troll—and found that nothing came of it, and it wasn't worth sixpence!

> [Hilda-Nora goes off to the right with Helmer; Senna to the left with Rübub; Dr. Herdal and Mrs. Herdal sit on two of the galvanised iron-chairs, and shake their heads disconsolately as the Curtain falls.

The End.

### OMNIS CELLULA A CELLULÂ.

#### (Professor Virchow—vide Daily Paper.)

| Life's a cell and all things show it. I thought so once, and now I know it. |
Gay (up to date).

### A RADICAL RIDDLE.

Why are the Tories so eager to discuss Black-edged Envelopes, and Black-lead Pencils?—Because they belong to a Stationary Party.

### POLITICS AND TRADE.

#### (A Poser for "Patriots.")

> ["Our Trade is our Politics." Motto of the Licensed Victualler, as publicly avowed at a recent "great Meeting."]

Dear Bung, that frank but huckster-like avowal

Is made continually, behind the bar.

It means—though rather "laid on with a trowel"—

A Trade with Public Spirit quite at jar.

The "mercenary politician," making

A pocket-business of a patriot's task,

Recently put your Press in a great taking;

But sordid selfishness here doffs all mask!

Which with a patriot's conscience plays most tricks?

Which most the venal virus has betrayed,—

The man who makes his Trade his Politics,

Or he who makes his Politics his Trade?

## OUR BOOKING-OFFICE.

Burdett's Official Intelligence for 1893 is just out, a promising young thing in its twelfth year. It is a little early to talk of the holidays, but my Baronite, regarding this thin Vol. of 1783 pages, says he cannot help thinking with what pleasure the City merchant, or his clerk, hastening to the seaside, will pack it up with his collar-box. Every year the monumental work increases in value, by reason of accumulated information. To the tired City man, scaling some Alp, gliding in well-found yacht over silver seas, or prone in bosky dell, there can be nothing more soothing or delightful than to take his "Burdett" out of his waistcoat-pocket, and read it through from first page to last.

For The Tragedy of Ida Noble the Baron tenders his grateful thanks to W. Clark Russell. It starts well, and the excitement is artistically sustained. At the close of every chapter Oliver, the reader, is perpetually "asking for more." A capital story of adventure, where all, including the reader, are "quite at sea" until the very last chapter. On nearing the middle of the book, the question will occur to everyone experienced in such matters, "Does the hero marry the heroine?" Now this, being a lady's secret, will not be revealed by The Baron de B.-W.

#### Obstruction.

## The Plea of the Party Man.

### (On either side.)

"There's no Obstruction!"—Why, then, all this ruction?

"When we obstruct, who dares to call't Obstruction?"

To dam a deluge, stop a bolting horse,—

That is obstruction, of a sort, of course;

Our sort, in fact! But theirs on t'other side?

That's quite another matter. They can't hide

The cloven foot of malice, the false faitours!

Not obstruct them? As well say not hang traitors!

## FAR TOO PREVIOUS.

In the Agony-Column of the Times we now see daily the following Advertisement:—

TO IRISH LOYALISTS AND PROTESTANTS.—Death before Slavery!

Surely a most blameless sentiment. But the bearings of it lie in the application. And what is that? It seems as applicable to any existing situation as, say, "Lunch before Dinner," or "Business before Pleasure," or "Age before Honesty," or "Fingers before forks." Mr. Punch ventures to suggest a modification, less striking, perhaps, in an "Agony-Column," but more in accord with patriotism and common-sense:—

To Irish Loyalists and Protestants!

Be Loyal, and Protest—Constitutionally!

The flamboyant, melodramatic, "Death before Slavery!" may be applicable—when "Slavery" becomes a conceivable, proximate probability, or "Death" a possible alternative. Then let us have "Death before Slavery," by all means. At present, Punch would say, "Common-sense before either!"

### Poor Political Economy!

#### (By an elated Parliamentary Want-to-Knower.)

Oh! to waste half the time asking Questions is grand!

"Supply" is not in it, just now, with "Demand"!

[pg 138]

### INSTINCTIVE CRITICAL ACUMEN.

"That looks like an Old Picture, John! What is it?" "It's 'Moses striking the Rock'!" "Ah! I told you it was Old—didn't I, Now!"

## "ALL A-BLOWING!"

### Air—The celebrated Duet in "The Mikado."

#### Much-sold Pater and Mater sing:—

Pater. The flowers that bloom in the Spring,

Tra la,

To purchase henceforth I decline.

The hawkers those blossoms who bring—

Ah! bah!—

Will "swop 'em for most anything,"

Ha! ha!

But as soon as you've bought 'em they pine.

Both. And that's what they mean when they say, or they sing,

"He's as green as a man who buys flowers in the Spring,"

Tra la la la la la, &c.

Mater. The flowers that bloom in the Spring,

Tra la!

Are a sell, my dear hub, in our case.

I bought this with a "suit"—there's the sting,

Pa-pa!

Which he said was "a worn-hout hold thing,"

(O-la!)

Just fancy his having the face!

Now 'tis shrunken, and shrivelled, and that's why I sing,

Oh, bother the flowers that bloom in the Spring!

Tra la la la la la, &c.

Both (to Servant). So tell the next rascal who ventures to ring,

We'll buy no more flowers that bloom in the Spring!

> [Dance, and exeunt, determined never again to be diddled by the howling "A-a-blowing and a-growing!" impostors, who, at this season, hawk heat-forced or illrooted pot-plants about the streets of the suburbs.

## HOW IT WOULD LOOK IN ENGLISH.

### (An adaptation from the French.)

> Anyone. Let us accuse the Ministry of misappropriating twopence-halfpenny.

> The Entire Press. Certainly, why not?

> The Opposition. The Ministry are thieves.

> The Government. After this insult we resign en masse.

> One of the Public. It is said that Mr. Briefless Junior has accused the First Lord of having stolen the Horse-Guards clock.

> First Lord. Please, Lord Chief Justice, request Mr. Briefless Junior to keep a civil tongue in his head.

> L. C. J. The Attorney-General is the proper person to offer a remonstrance.

> Sir Charles. Can't undertake rows since I have restricted my private practice.

> Ex-Chancellor of the Exchequer. I accuse the Lord Chancellor.

> Lord Chancellor. Why, and of what?

> Those Concerned. Never mind that. What does it matter who's accused, so long as everybody forgets us.

> Someone. And now everything's completely mixed, does anyone know what the row's about?

> Everybody Else (after a short silence). Don't know, and don't care!

## "PUTTING OFF."

### Old Aquatic Hand, loquitur:—

Look here, bonny boys! As we're launching our ship,

And stringing our energies up for the tussle,

Allow your old Stroke to suggest the straight tip!

This is not a mere matter of Milo-like muscle.

You are all looking fit, we've the pull in the weights—

Not much, to be sure, forty pounds, say, or thereabout.

Still, that much should tell 'gainst the smartest of eights;

It should give us the race, which is all that we care about.

'Twill be a close fight, bet your boots about that,

If we get a clear course without serious obstruction,

Of which I'm not sanguine; the practice of Pat

Has proved to possess universal seduction.

Our last spin was muffed; never mind whose the fault;

Let bygones be bygones! But now comes the crisis!

It's now win or lose. Every man worth his salt

Will pull like a Titan from Cam or from Isis.

But—pull clean together, and put on the pace

When I call for a spurt, or we're in for a licking.

And, Cox, don't you steer us all over the place.

In the fight that's before us, the course requires picking!

So keep at attention, Mac, sharp all the way;

A split-second's slackness may set our foes grinning.

Verb. sap.! Our last "spin" proved a "mull," I must say;

We must quicken the pace, if this bout we mean winning!

[pg 139]

### "PUTTING OFF."

Gladstone (the Old Blue). "NOW, MY BOYS,—WE MUST ROW A QUICKER STROKE IF WE'RE TO WIN!"

[pg 140]

[pg 141]

## MIXED NOTIONS.

### No. VIII.—THE BOAT-RACE.

Inquirer. Are any of you chaps going to the Boat-Race?

First Well-Informed Man. No, I shan't. Everybody knows which is going to win, so there's deuced little interest in the race; and then you can always read it on the tape at your Club. Besides, I don't care much about rowing. It's a silly sort of exercise; anybody can do it.

Second W. I. M. Have you ever tried?

First W. I. M. (indignantly). Have I ever tried? Of course I have. Why, you were with me last Summer when we had that water-party from Taplow to Cookham.

Second W. I. M. Ah! but you didn't do much rowing then. You let me get all the blisters, and you just sat in the stern and steered us like a blessed corkscrew.

First W. I. M. Did I? I didn't remember that; but I do remember you catching about half-a-dozen crabs one after another.

Second W. I. M. True enough I caught one, but that was because you would keep standing up in the boat, and moving your body backwards and forwards. I suppose you thought the coxswains do that in their racing-boats?

First W. I. M. (boldly). They do. I've seen 'em doing it often.

Second W. I. M. Why, I thought you'd never seen the crews at all.

First W. I. M. Bosh! I never said anything of the kind. I'm not going to see the race this year, but I've often seen 'em practising down at Putney. Everybody knows the coxswains have to stand up. How do you suppose they could see to steer if they didn't? So where are you now, with all your accurate information, eh?

Second W. I. M. I'm where I was before, and I know I'm right, because my brother-in-law had a cousin who was at school with one of the Coxes about ten years ago. [A pause.

Inquirer (looking up from his sporting paper). I say, I thought the crews rowed in racing-boats.

First W. I. M. So they do.

Inquirer. Well, then, what does this mean? (Reads.) "Both yesterday and to-day Cambridge rowed with a bucket. They must improve this if they want to win."

First W. I. M. (smiling). My dear fellow, they call their big practising-boat a bucket.

Second W. I. M. No, they don't—they call it a tub.

First W. I. M. Well, tub or bucket, it's the same thing. (To Inquirer.) What you read just now means that their practising-boat has gone rotten, and they'll have to mend her up a bit.

Inquirer (dubiously). But they don't row the race in a tub or a bucket, do they?

Second W. I. M. No, they row in a Clinker-Clasper.

Inquirer. What the deuce is that?

Second W. I. M. (plunging). Oh, it's a specially fast kind of racing-boat, built by Clinker and Clasper. They're a firm of boat-builders—I thought everybody knew that.

Inquirer. But then, what does this paper mean by saying that Oxford are rowing in a Rough?

Second W. I. M. Why it means that their boat isn't so smooth as that of Cambridge.

Inquirer (puzzled). But then it goes on to say that "She is as fine a specimen of a racing-craft as this eminent boat-builder has ever turned out." How can she be that, if she isn't as smooth as the Cambridge boat? Besides, who's "this eminent boat-builder?"

Average Man. Rough.

Second W. I. M. Rot!

Average Man. Rough, not Rot. Rough's his name.

Second W. I. M. Let me see the paper. (He reads, and addresses the Inquirer.) Why didn't you say the word was printed with a capital R? (To Average Man.) Perhaps you're right, after all; but I know some boats are rougher than others. [A pause.

Inquirer. What's the difference between First Trinity and Third Trinity? Three of the Cambridge men are from First Trinity, and two from Third Trinity, besides the Cox.

First W. I. M. What's your difficulty? First is first, and Third's third, all the world over. Don't you see, the First Trinity men come first in the crew, and then the Third Trinity men.

Inquirer. But why don't some of 'em call themselves Second Trinity men?

First W. I. M. Oh, that's one of their silly bits of College etiquette. These chaps at the Universities are never happy unless they do things quite differently from all the rest of the world.

Inquirer. This beastly paper says, "the Cambridge stroke rowed much longer to-day."

First W. I. M. Well, what then?

Inquirer. Oh! nothing; only I thought they all rowed exactly the same distance when they're practising; so I don't quite see how any of 'em could have rowed longer than the rest.

First W. I. M. I daresay they made him row a good bit by himself; they often do that to give the stroke some extra practice. He wants it more than any of the rest.

Second W. I. M. Why?

First W. I. M. Oh, ah—well, because he's got to set the stroke for the others, or something of that sort.

Inquirer. How far do they row in the race?

Second W. I. M. About six miles or so.

Inquirer. By Jove, then, how on earth do they manage to get over all that distance with so few strokes. (Refers to paper.) It says, "Oxford rowed 37 all the way, while Cambridge contented themselves with a well-pulled 35." (With a happy inspiration.) If Cambridge can do it in 35 strokes, while Oxford take 37, it looks jolly like Cambridge winning by two strokes, don't it?

First W. I. M. All right; I'll lay you the odds on Oxford.

Second W. I. M. Good, I'll take 'em to five pounds. Oxford can't win.

First W. I. M. (confidently). Cambridge can't win. Anyway, I'll lay you ten pounds to five.

Inquirer. I should like to have a bet with somebody.

Average Man. You'd better write to one of the Presidents of the University-Boat Clubs. They're always ready to oblige a keen fellow like you with a bet.

Inquirer. Of course. That's my best plan. I'll write to-day.

> [Terminus.

## UPON TERMS.

### (A Forensic Drama of the Future.)

> [In a recent trial, Mr. Justice Hawkins corrected a learned Counsel who talked about Witnesses "coming up to the scratch."]

The Judge (taking his seat). I think, Mr. Smallfee, that you were examining a Witness when we adjourned yesterday. Are you ready to go on with the examination?

Mr. Smallfee (pleasantly). I am sorry to say that Witness has not turned up yet, m'Lud!

The Judge (pained). Not what?

Mr. Smallfee. I beg your Lordship's pardon. Of course what I meant was that the Witness has not, as yet, condescended to irradiate the precincts of this tribunal with the sunshine of his presence.

The Judge. That's better! Then we must go on to the next Witness.

Mr. Smallfee (with an evident attempt to keep up his spirits, in spite of misfortune). The next Witness, also, I regret to say, has not turned——I mean, has failed to appear. The Solicitor informs me that he solemnly promised to attend; but I suppose the promise was all my eye.

The Judge. Dear, dear! What extraordinary expressions you do use, Mr. Smallfee! All my eye! Perhaps you will kindly interpret the phrase, for the benefit of the Court.

Mr. Smallfee (desperately). As your Lordship pleases! But, as I feel rather down in the mouth now, and as the twelve sufferers in the Jury-box evidently think that this trial has lasted long enough already, and that we ought to stir our stumps, I would suggest——

The Judge. Usher! Step across to Booksellers' Row, and buy me a Slang Dictionary! I cannot—I really cannot follow the learned Counsel.

The Foreman (interposing). We do not object to colloquial expressions, my Lord. Y' see, we're a Common Jury, and we rather like them. All we want to do is to get on with the case. And perhaps it may assist the Court if at this stage I remark that the Jury has quite made up its mind, and is ready to give its verdict.

The Judge (astounded). But—but—there has been no evidence for the defence!

The Foreman (calmly). No, my Lord. But no doubt the learned Counsel's two Witnesses, had they been present, would have supplied some; and, anyhow, we are so pleased with his talking down to our level, and not—as usual—over our heads, that we are all agreed to find a verdict for his client, the Defendant.

Mr. Smallfee (bowing). Thanks for your good opinion, Gentlemen. I thought, by the cut of your jibs, you were the right sort.

> [Winks, in passing out.

The Judge. And this is what the Law has come to! Call on the next case!

New Proverb (for the use of the Panama Cheque-takers).—"The game is not worth the Scandal."

[pg 142]

### DISCRETION.

"And here's an extra Sixpence for you, Cabman—to get yourself some Tea, you know!"

"Yes, Ma'am! Thank yer, Ma'am! I s'pose I may choose my own Grocer, Ma'am?"

## WILL WATERPROOF'S MONOLOGUE.

### Adapted to a Direct-Vetoed Parish.

O pale Head-Waiter at "The Cock,"

How changed for you and me

Is this sad time! 'Tis five o'clock,

Go, fetch a cup of tea;

My pint of port is changed to that—

Weak Cowper's washy liquor!

Did tea make Cellarer Simon fat,

Or cheer Bray's jolly Vicar?

No more libations to the Muse!

Will cocoa make her kind?

Will water whisper words to use?

Will milk make up my mind,

When writing melancholy rhymes,

Of days not half forgotten,

Before these daft teetotal times

When common-sense seems rotten?

Head-Waiter, those good pints of port

Are stopped for you and me,

By legislation of the sort

They call grandmotherly;

Two-thirds majority has said

That alcohol would hurt you,

And so you meekly bow your head,

And practise painful virtue.

We fret, we fume, we scoff, we sneer,

And evil fate upbraid;

Your care is for the ginger-beer,

The milk, the lemonade.

To come and go, and come again

With coffee that you keep hot,

And watched by silent gentlemen,

That trifle with the tea-pot.

Live long, for water to the head

Was never known to fly,

Your flabby face will not grow red,

Nor will your washy eye.

Live long as you can bear these woes,

Whilst bigots thus defy sense,

Till watery Death's last Veto shows

Life's quite suspended licence.

"Aquarius," when you shall cease

Teetotal drinks to quaff,

And end life's not repairing lease,

Might be your epitaph.

No carved cross-pipes, no pint-pot's wreath,

Shall show you past to Heaven;

But water-pipes, and, underneath,

A milk-pot neatly graven.

## ESSENCE OF PARLIAMENT.

### Extracted From the Diary of Toby, M.P.

House of Commons, Monday Night, March 13.—No use disguising fact that when House discovered Frederick Milner standing behind Front Opposition Bench, brandishing heavy boot in his hand as he addressed Asquith, it held its breath. Political passion runs pretty high of late; Opposition stirred to deepest depths by persistence of Government in attempting to read Home-Rule Bill Second Time before Easter. There have been sittings after midnight; sittings through Saturday; hot words bandied about; preparation for deadly duel in lobby. No one can say whither men may be led when once they permit angry passions to rise. Charles Russell, whose acquaintance with criminal classes is extensive, tells me it is by no means uncommon thing for prisoner in dock to take off boot and hurl it at head of presiding Magistrate or Judge.

"Usually an old woman who does it," he added.

"But this is Sir Frederick Milner, Bart.," I said.

"Um!" said Russell, with odd significance in the observation.

Turns out the apprehension groundless. Milner only wants to know why Police at Leeds and Bradford should enjoy ultimate resources of civilisation in respect of "Scaith's silent boots," whilst London Policemen not so privileged? Milner tells me his earliest idea was to get a pair of the boots, put 'em on, and surprise Speaker by approaching with noiseless tread from behind Chair, lean over his shoulder, and suddenly say, "Boo!" That, Milner thought, would be conclusive proof of the efficacy of the boots as making the tread inaudible. On other hand, Speaker mightn't like it. So, by way of compromise, brought down odd boot in tail-pocket of his coat, and shook it at Home Secretary when he put question.

Asquith behaved very well under trying circumstances. Did not visibly blench; answered, in off-hand manner, that London Police had had opportunity of substituting the silent boot for those in ordinary use, and had not availed themselves of it. Some had objected on domestic grounds. Female friends engaged in responsible posts in certain households on their beat were accustomed to the sound of their footfall on the pavement, and would not have things ready if they approached like rose-leaves flitting over shaven lawns. Others, assuming higher ground, resented silent boot as taking unfair advantage of the burglar or footpad. "Give a 'ardworking cove a fair chanst, that's my motter," one honest fellow in blue said to Home Secretary when Right Hon. Gentleman brought silent boot under his notice. No use attempting to run counter to feeling of this kind. Conclusion in which Dicky Temple heartily concurred.

"Silent boot," he said, "forced upon Metropolitan Police might play in history a part analogous to that of the greased cartridges on which we slipped into the Indian Mutiny."

Milner saw it was evidently no use, so returning boot to coat-tail pocket, moodily regarded Treasury Bench.

[pg 143]

### "WANTING TO KNOW;" OR, THE BEWILDERED USHER.

But there were consolations. Squire of Malwood, asked by Prince Arthur what he now thought of prospects of reading Home-Rule Bill Second Time before Easter, admitted impossibility; triumphant shout from Opposition. Not in vain had they sat through morning sitting on Friday discussing the hour at which they should adjourn on Saturday. Not without recompense had they taken care that when Saturday came it should [pg 144] see accomplished the minimum of business. Tussling with Mr. G. ever since Session opened; in first rounds he came off best; drew first blood; seemed likely to carry everything with him; Opposition pulled themselves together; went at it hammer and tongs; and now it is Mr. G. who has retired to corner; the sponge is in requisition on the Treasury Bench; the air around it redolent of the perfume of the indispensable vinegar.

"Guinness will go up a point or two on this," said Ellis Ashmead Bartlett, Knight, who has taken Irish securities under his wing. "Go down a pint or two, you mean," said Wilfrid Lawson, who is irreclaimable.

Business done.—Attack on Justice Mathew and Evicted Tenants' Commission repulsed by 287 Votes against 250.

Tuesday.—Squire of Malwood a changed man. No longer the light-hearted, sometimes almost frivolous youth who through six years sat on Front Opposition Bench, and girded at the Unionist Government. A Minister himself now; Mr. G.'s right-hand man; First Lieutenant of the Ship of State; acting Captain when, as happens just now, Mr. G. temporarily turned in. Once this afternoon something of old spirit stirred within him when Howard Vincent (as he said) used the Stationary Vote as a peg on which to hang Protection heresies. But, for most part, he sits silent and self-communing, saying nothing, but, probably, like the parrot of old, thinking the more. In Conservative ranks feeling of profound respect growing in his favour. Curious to hear them say, "Ah! if everyone on Treasury Bench bore himself like Harcourt, things would be different." Even the blameless Bryce is held up to contumely in contrast with mild-mannered Master of Malwood. As for Charles Russell, after his speech last night, good Conservatives, following an Eastern custom, well enough in its place, spit when they mention his name. For them the model of all Parliamentary virtue is the Squire of Malwood.

Don't know how long this passion of appreciation will last; interesting to observe while yet with us. A lull all round in sympathy with soothing moments of Chancellor of Exchequer. Even J. W. Lowther's perturbed mind at rest. Knows now, to a fraction, how many lead-pencils are annually in use in directing destinies of British Empire. Rumour current that origin of this inquiry was a little undertaking promoted by Hon. Member in substitution of proscribed word-guessing competitions. Sweep got up; £5 entry; every man to guess at precise figure of lead-pencil census; the one coming nearest to clear the pool. Lowther tells me not word of truth in report. In putting his question as to number of lead-pencils in use, and in sticking to it in spite of jeers of bystanders and guilty reticence of Minister, he was actuated simply by motives of public policy; desired, in short, to live up to standard of late lamented Leader and do his duty to his Queen and Country.

Business done.—Great lead-pencil question settled. Excited House Counted Out at 9.20.

### "Back!! Rasch intruder!"

Thursday Night.—House dying to know what Major Frederick Carne Rasch had to say on Navy Estimates. Not being Major of Marines, initial difficulty is to imagine what he did in this galley. If it had been the Army, or even the Militia, the Major would have seemed all right. But what had he to do with the Navy? That, however, is for the Major a minor point. "You Carne be too Rasch when attacking this Government," said Kenyon, with his pretty elliptical speech.

It was half-past ten, and a dull night. Navy Estimates been talked round for nearly five hours. Squire of Malwood meekly hoped that a Vote would now be taken; Dicky Temple presented himself at footlights with bewitching smile on his lips and elegantly bound gilt-edged volume under his arm; bowed to audience; opened volume; proceeding to offer few remarks when Squire swooped down on him with Closure.

This was cue for Rasch. Chairman rose to put question. So did Rasch. Closure must not be debated; attempt to speak is unpardonable breach of order. The Major stood in the imminent deadly breach; House howled; Chairman cried, "Order! Order!" Rasch glared round, and, after moment's hesitation, sat down; up again as soon as Question was put; howls more anguished than ever. Committee having agreed that Question be put, nothing to do but put it, and here was Rasch bubbling over with speech. Chairman on his feet peremptorily signalling Major to sit down; Members near him tugged at his coat-tails; those further off frantically wave deprecatory hands. Major stood to his guns; shouts of "Name! Name!" Chairman, desperately pegging away, succeeded in putting Question, being money-vote for Navy. Major by this time hauled down in his seat. Up again, like Jack out of box. Chairman also on his feet, putting next vote; hubbub tremendous; Major's lips observed in motion; not an articulate syllable rose above uproar.

### On the Stroke of Twelve; or, Cinderella Balfour!

Meanwhile Chairman had dexterously put and run through supplementary vote for Excess of Expenditure; friends near him had got the catapultic Major down again, in time to hear Chairman declare "the Ayes have it!" Major up again. "Order! order!" shouted the Chairman. "Question: is——" Not quite clear amid uproar what question was; something to do with Army. Anyhow, there was Stanhope standing at table discussing Army Votes. Major again on his feet, his moustache twitching with astonishment. Stanhope a peculiarly painful circumstance; all very well for good Conservative to gird against Government, and jostle Mr. G.'s Chairman of Committees; different (especially for a Major in the Militia) to struggle with Statesman who had been Secretary of State for War on his own side. So Major, defiantly glaring round House slowly dropped into his seat:—"dying with all his music in him," as Justin McCarthy, who knows the poets, said. But what was the tune he meditated? What is the secret of this unspoken speech?

Business done.—Money voted for Naval men. Halt cried on Army Vote.

Friday.—Rasch broken out again; turns up as usual at critical moment. Committee of Supply adjourned at ten minutes to seven; sharp at seven morning sitting must be suspended. Report of Supply under consideration; only tremulous ten minutes to get through it. Rasch resolved, now or never, to finish the speech he commenced yesterday. House, after protest, settles down to listen. Seems Kay Shuttleworth been "saying things" about the warrior. "He behaved towards me," said the Major, "in a manner that would be brusque on the part of Providence addressing a black beetle." House undecided as to which simile more happily bestowed. On the whole, agreed more polite to contemplate U. Kay Shuttleworth as Providence, than Major Rasch as the other thing.

Business done.—Some Votes in Supply.

#### Transcriber's Note: Missing or illegible/damaged punctuation has been repaired.

*** END OF THE PROJECT GUTENBERG EBOOK PUNCH, OR THE LONDON CHARIVARI, VOL. 104, MARCH 25, 1893 ***
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™ 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.
START: FULL LICENSE

## THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
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.
Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works
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.
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.
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.
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.
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™ 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:

> 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™ 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.
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.
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™.
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.
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.
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.
1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • 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.”
- • 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.
- • 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™ works.

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.
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™ 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.
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.
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™ 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.
Section 2. Information about the Mission of Project Gutenberg™
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.
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.
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™ 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™ electronic works
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.
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.
Most people start at our website which has the main PG search facility: www.gutenberg.org.
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.