The Project Gutenberg eBook of Dew Drops, Vol. 37, No. 16, April 19, 1914 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: Dew Drops, Vol. 37, No. 16, April 19, 1914 Author: Various Editor: George E. Cook Release date: December 7, 2004 [eBook #14283] Most recently updated: December 18, 2020 Language: English Credits: Produced by Juliet Sutherland, Suzanne Lybarger and the PG Online Distributed Proofreading Team. *** START OF THE PROJECT GUTENBERG EBOOK DEW DROPS, VOL. 37, NO. 16, APRIL 19, 1914 *** Produced by Juliet Sutherland, Suzanne Lybarger and the PG Online Distributed Proofreading Team. DEW DROPS VOL. 37. No. 16. WEEKLY. DAVID C. COOK PUBLISHING CO., ELGIN, ILLINOIS. GEORGE E. COOK, EDITOR. APRIL 19, 1914. A SYRUP-CAN MOTHER BY MARY GILBERT. Dorothy Deane and her little brother Laurence were standing by the window watching for papa. "There he comes!" cried Dorothy at last, and the children raced toward the corner as fast as their chubby little legs would carry them. "Careful now!" said papa warningly, as the two hurrying little figures reached him. "Don't hit against my dinner pail!" "What is in it?" asked Dorothy and Laurence in one breath, as they stood on tiptoe, trying to peep inside the cover. "Guess!" said papa, laughing. "A nickel to the one who guesses right!" "Candy!" cried Laurence. "Oranges!" said Dorothy. Papa shook his head at both these guesses, and at all the others that followed, until they had reached the house. "Now let mamma have a turn," he said, holding the dinner pail up to her ear. "Why, it isn't--" mamma began, with a look of greatest surprise. "Yes, it is!" papa declared. Then he took off the cover and tipped the pail gently over in the middle of the kitchen table and out came ten of the fluffiest, downiest little chickens that any of them had ever seen. "Oh, oh, oh!" cried the children delightedly. "Are they really ours? Where did you get them?" "They are power-house chickens," papa replied, smiling at their enthusiasm--"hatched right in the engine room!" "What do you mean?" asked mamma in astonishment, gazing at the pretty little creatures. "Just what I say," replied papa, who was an engineer in the big power house down town: "they were hatched on a shelf in the engine room." "It was just this way," he explained, hanging up his hat. "Tom Morgan brought me a dozen eggs from his new hennery about three weeks ago. I put them on the shelf, intending to bring them home that night, but never thought of them until this morning, when there seemed to be something stirring up there. I looked, and, sure enough, there was a fine brood of chickens, just picking their way out of their shells!" "But how did it ever happen?" asked mamma in a puzzled tone. "Because the engine, running night and day, gave the eggs just as much heat as they would have found under a hen's wings," papa replied: "and they thought that they were put up there to hatch." "Oh, aren't they darlings!" cried Dorothy, clapping her hands as the chickens began to eat the crumbs. "They are the nicest pets that we ever had in all our lives." [Illustration: "Oh, aren't they darlings!" cried Dorothy.] While papa was making a nice coop out of a wooden box, mamma found an empty tin can that had once held a gallon of maple syrup. She filled this full of boiling water, screwed the cover on tight, and then wrapped it up in pieces of flannel. "There," she exclaimed triumphantly, fastening the last strip, "let us see how the chickens like this for a mother!" Setting the can carefully in the center of the coop, she put the little chickens close by it. Finding it soft and warm, they cuddled up against the flannel cover, and began to chirp as contentedly as if it were a mother hen. Then she pinned a square of flannel to the upper side of the can, letting it spread either way like a mother hen's wings, and leaving the ends open for the chickens to go in and out. [Illustration: They cuddled up against the flannel cover.] "We will fill the can with hot water every night," said mamma, "and it will keep the chickens warm." And here they lived quite happily with their syrup-can mother, until papa declared that they were large enough to go to roost in the barn. PRINCE GOODHEART'S DAUGHTERS. BY ZELIA MARGARET WALTERS. Prince Goodheart had twin daughters about eight years old, named Myrtle and Violet. He had a number of other daughters, and sons too, for this was a large family. But to-day's story is about the twins. When the nurse was getting them ready for bed at night she always told a story, and one night her story was about the good-luck plant. She told how the seeds of it had been scattered about over all the earth, and here and there the good-luck plant came up. Then she told about a child that had found one, and of all the pleasant things that happened to her. The little princesses listened with wide open eyes, and hoped they, too, would find a leaf of that marvelous plant some day. The next morning Myrtle and Violet were out in the garden early. "I'm going outside of the gate," said Myrtle. "I mean to find the good-luck plant to-day." "But we haven't permission to go out," said Violet. "I'm not going to ask," said Myrtle. "They'll all be glad when I come back with the plant. You'd better come with me." "But I must get my lessons, and finish the hemming mother gave me to do, and afterward I promised to weed one of the flower beds for mother. I must do those things first." "Oh, well, I can find it by myself," said Myrtle, and out she ran. She didn't have as fine a time as she expected. She got tired and cross. She looked for the plant by the roadside, and in the park, and on the lawns. Whenever anyone spoke to her she answered crossly. When the sun set, and warned her that it was time to go home, she hadn't seen a thing that looked like the good-luck plant. She shed a few tears as she ran home. At the castle gate she heard a pleasant noise of laughter and happy voices in the garden. "Could they have had a party without me?" she cried. She darted in. "Oh, Myrtle!" called her little brothers and sisters. "What do you think! Violet has found the good-luck plant, and she let us all hold it awhile, and we've had such a lovely time since lessons are done." Myrtle's face flushed. "You are a deceitful girl," she said to her twin. "You said you meant to stay home." "So I did," said Violet. She looked so happy and sweet that even cross Myrtle stopped frowning. "I found it while I was weeding mother's flower bed. There it was among the pansies. I knew it at once by the horseshoe shape on the leaves." THE QUEER BLACK CALF. BY MATTIE W. BAKER. "Please tell us a story, grandpa," said Arthur. "A story about papa when he was a boy," added Willie. "Well, I'll tell you what your papa did, right over there, when he was only four years old." "We had a very gentle old horse that we called Jenny. When I came home from any place, and was going to turn her into the pasture, your papa always wanted to do it himself, so I would give him the end of the halter, and let him lead her through the lane to the bars. He could drop down the ends of the bars, for they were only poles, and then Jenny would hold her head so that he could slip off the halter. "Well, one time it was near night when I came home, and your papa was gone to the bars as usual, so it was growing dark when I saw him coming back." "'What took you so long?' I asked. 'Didn't Jenny hold her head down good?' "'Oh, yes,' he said; 'but I saw a black calf out there in the bushes, and I thought I'd put the halter on him and lead him home.' "'There's no calf in the pasture,' I said. "'Yes, there was,' he persisted--'a funny-looking black calf! I went up to him and tried to put on the halter, but he wouldn't hold his head down when I told him to; and then he turned around and went off into the woods, so I came home.' "I remembered then that a bear had been seen not far from us a few days before, and I wondered if my little boy had been trying to put a halter on a bear! "I called the hired man, and got my gun, and we went over there. It was not so dark but that we could see the bear's tracks in the mud about the rock, and right among them were the tracks of your papa's little shoes!" Both boys' eyes were "as big as saucers." "Did papa do that, really?" asked Willie. "Yes, he did, for this is a true story." "He didn't know any better, he was so little," said Arthur. "I wouldn't want to try it." "I think," laughed grandpa, "that even your papa wouldn't want to try it now, old as he is!" MAISIE PLAYS THE GOOD FAIRY. BY COE HAYNE. Often did Maisie play the good fairy when out in fields. When she saw a lamb caught in the fence, she freed it; when a little bird fell from its nest she replaced it; when a wee chick lost its mother, she helped it out of its misery. So did she try each day to make the world happier. One day as she was roaming about, she saw something dark in the grass. She stooped and picked up a pocketbook. Her eyes opened wide with excitement when she found inside of the pocketbook several five-dollar bills and some silver. [Illustration: Maisie finds a pocketbook.] "Who could have lost it?" she asked herself. Maisie was going to run to the house to show her mother what she had found when she caught sight of a boy lying face downward upon the ground beside the road. [Illustration: Maisie caught sight of a boy lying face downward upon the ground.] She ran to the boy and knelt beside him. Touching him lightly upon the cheek with a wisp of grass, she said: "Look up, boy. What is the matter?" "I've lost my father's pocketbook," sobbed the boy. "I drove ten sheep to market and the man paid me for them. But I dare not go home because I've lost the money." "Do you believe in fairies?" asked Maisie. "What good are fairies?" replied the boy. "Maybe they would bring you good luck," said Maisie. "I don't believe it," said the boy. "Suppose you try them. Close your eyes." The boy closed his eyes. "Now repeat after me: "Bright eyes, light eyes! Fairies of the dell, Come and listen while my woes I tell." The boy did as he was told. "Now open your eyes," ordered Maisie. The boy opened his eyes and within six inches of his hand lay the pocketbook. Eagerly he took it and opened it. "Is the money all there?" asked Maisie. "Every cent!" cried the boy with joy. "You had better believe in good fairies," said Maisie, as she ran away laughing. "Ah, you are the good fairy!" called the boy after her. "Many, many thanks for your kindness." THE LITTLE PIONEER'S RIDE. BY ANNA E. TREAT. "Whoa, Buck! Whoa, Bright!" called out Stephen Harris, pioneer, and the glossy red oxen halted in the forest opening. "This shall be our dinner camp to-day, boys," said he. "See what a fine spot." The pair of stalwart lads, with rifles on their shoulders, who had been walking all the forenoon beside the big covered wagon, thought it was, truly, a fine spot and began to make camp for dinner, unyoking the oxen and turning them out to graze, kindling a fire with dry twigs and moss and fetching water from the clear brook that rippled by. Meanwhile, children of all ages began to climb down from the wagon. There were ten of them, fine healthy children; the youngest, Martha, was a little yellow-haired girl of three, the pet and pride of them all. The wagon, which had been their traveling house for a month was well fitted up for the comfort. The seats were built along the sides and so contrived as to hook back at night; then the bedding, tightly rolled up by day, was spread out on the wagon bottom. Under the wagon swung the large copper kettle, the most important of all things in the households of those early times. After dinner the oxen were yoked up, and in great spirits the pioneers scrambled to their places in the wagon, and the oxen started on at a good pace, and they had gone a mile or two before the fearful discovery was made that little Martha was missing! The patient oxen were turned about, and as fast as possible the distracted family traveled back to the dinner camp, Mr. Harris and the big brothers calling, as they went, the name of the child. The camp was finally reached--but little Martha was not there and no trace of her could be found. The forest had seemed so peaceful an hour before, but now it was filled with terrors. What wild animals might not lurk in the thickets! The very brook seemed to murmur of dangers--quicksands and treacherous water-holes. "Baby! Baby!" called Mr. Harris suddenly, breaking into a sharp cry; and this time, in the anxious waiting pause of silence, a shrill little voice from right under the wagon piped out, "Here I is!" and over the rim of the great copper kettle popped Martha's golden head. Scrambling out, "head-over-heels," she rushed into her mother's arms, as fresh and rosy from her after-dinner nap as though she had been rocked in the downiest cradle in the land. AN APRIL DAY. Now bless me! where have my rubbers gone, And where my big umbrell'? It's pouring rain, and a minute ago It was just as clear as a bell! Oh, here are my rubbers, and here's my umbrell'-- But, dear! dear me! I say, The sun's out bright and the rain all gone-- Did you ever see such a day! --_Selected._ AN ODD EARTHQUAKE. After Hiram sowed the field of rye, he left the big wooden roller standing in the lane. It was a big roller, almost five feet high! One sunny forenoon Roy and Dorothy raced up the lane with little black Trip and white Snowball at their heels. Dorothy was a gay, prancy horse and Roy was a coachman armed with a long whip. They paused for breath beside the roller. Roy clambered up to the high seat and flourished his whip. Dorothy drummed on the hollow-sounding sides with her chubby fingers. Suddenly a loose board rattled to the ground. Dorothy thrust her curly head inside the roller. "Oh, what a nice playhouse!" she cried. Roy got down and peered in. "So it is," he cried. "We can live here when it rains, for there's a really roof and a truly floor." "We'll call it Clover Cottage," said Dorothy, "for see how thick the clover is all around it." In about an hour "Clover Cottage" was in perfect order. Pictures and cards were tacked up, and the dolls and the furniture and the dishes all in place. Snowball was purring on a little bed of pine needles, and Trip lay beside her fast asleep. Tired of her work, Dorothy cuddled down a minute, too. Roy put back the loose board to shut out the blazing sun. Then he cuddled down beside his sister, and it was all dark and quiet. At twelve o'clock Norah came to the kitchen door and blew the great tin dinner horn. Hiram promptly unhitched "Old Dolly" from the hay rake and started for the house. "I may as well haul the roller along and put it under cover," he said to himself, as he passed the lane. He backed patient Dolly into the thills and mounted the high seat. "Clover Cottage" gave a sudden lurch forward. Dorothy woke with a scream. Trip was thrown violently into her lap, yelping wildly. Snowball clawed madly at the slowly-turning roof. Roy tried to shield his sister with his short arms, as dolls, dishes and themselves rolled together in confusion. "Old Dolly" pricked up her ears and stopped short. Hiram sprang down and tried to peer through the cracks of the roller. Helped by Roy within, the loose board was soon pushed aside and the unhappy little inmates of "Clover Cottage" crawled out, one by one. Frightened Trip shot down the lane. Snowball scrambled up the nearest tree trunk. "Well," said Hiram, "I call this quite an earthquake!" --_Child Garden._ HOW REX EARNED HIS KEEP. BY WINTHROP DAY. When the passenger train stopped at the little station up in the mountains, Carl and Rosalie were helped out of one of the Pullman cars by the porter. Sam, their Uncle Jack's big hired man, was there to meet them with the mountain hack and a team of splendid ponies. "So you're all here safe, I see," said Sam in his hearty way. "I know that we're here all right," said Rosalie, "but I'm not so sure about Rex. I haven't seen him since we left Kansas City." "Who's Rex?" asked Sam. "Why didn't Uncle Jack tell you about Rex?" said Carl. "Rex is our collie. He was put into the baggage car." Just then the station agent walked from the front end of the train leading an immense dog by a chain. "This is Rex," said Rosalie. "Isn't he a fine dog?" "We got rid of a dog just last week," said Sam. "Why did you get rid of him?" asked Carl. "Oh, he wasn't worth his keep. He didn't do anything but eat. It costs money to feed a dog up our way. I haven't much use for dogs, anyway. They are a bother where there are a lot of sheep around." "But Rex loves sheep," said Rosalie. Sam did not look as if he believed this. When Rosalie and Carl arrived at their uncle's sheep ranch far up in the mountains, they were given a warm welcome by their Aunt Janet. "Your Uncle Jack told me to kiss you for him as he had to go to his other ranch for a week," said Aunt Janet. Two days later Rex got his chance to prove his worth. Aunt Janet and Carl and Rosalie were just finishing their supper when a man from a neighboring sheep ranch knocked at the door and said that the herder of Uncle Jack's flock of yearlings had broken his leg and that someone ought to go for a doctor at once. [Illustration: Rex gets a chance to prove his worth.] "Sam must go," said Aunt Janet. "But who will take care of your sheep to-night, ma'am?" said the neighbor. "I would do it but I left my flock with my little son and must return at once." "Rex will take care of the sheep," said Carl. "I know he will for he guards anything I ask him to." "He looks like a sure enough shepherd dog," said the neighbor. "I would trust him with a flock of my own." So while Sam was hurrying down the mountain side after the doctor, Carl and Rosalie went with the neighbor through the woods to the place where Uncle Jack's flock of yearling sheep were feeding. And Rex went with them. "I heard wolves howling last night," said the neighbor. "Your dog will have to keep close watch to-night." "Oh, he will sir," said Rosalie. And sure enough! When Sam went to the sheep in the morning he found not one of them missing. Nor would Rex allow Sam to go near the sheep until Carl came out and called him away from his post of duty. A WASH DAY FANTASY. My mamma says they're spider webs, All sparkly with the dew, And mamma's right, she's always right, And what she says is true. But they're so weensy, and so soft, And white, that just for fun, I call them fairy baby clothes A-drying in the sun. --_Frederick Hall in "Little Folks."_ When Pussy Was Shocked By Jean Ford Roe Perhaps you think nobody can shock a cat. But just wait. This particular Persian kitten was only six months old, and nearly as big as he could ever expect to be, and he was a beautiful creature to look at--all black except his white mittens, boots, nose and shirt-front, as a Persian cat ought to be; and he had a cunning tassel in each ear, and a great plumy tail like an ostrich feather, and big topaz-golden eyes. Miss Mary's room and the next one opened into each other and were quite large, and both were covered with heavy rugs. Pussy's favorite game was to race back and forth from one end of the rugs to the other; sometimes he would poke his nose under the edge of a rug and wriggle in between the rug and the floor until he was simply a hump in the middle of it, like a dumpling. It was well Miss Mary always knew where he was, or he might have been stepped on some fine evening. But he was feeling altogether too lively for any such amusement as that, this cold night. It was one of those dry, cold, clear evenings when you feel like running races, or snowballing, and pussy was as full of life and go as even a cat could be. So he had a little Wild West Show all by himself, with the rugs for tanbark, and went so fast that he looked like a long black-and-white fur streak on the bright Persian rugs. Now, if you walk and jump about on a heavy carpet for a few minutes, on a cool night, you may find that if you touch your fingers to anything iron you will get an electric spark. So when pussy had raced about for fifteen or twenty minutes on the rugs, he was, though he did not know it, one capering little battery of electricity. Then he jumped up on the bed and began to race over the blankets. He was going so fast that he could not stop quite quick enough, and the bedstead was iron. He came up against the foot of it before he could stop, and though he did not touch it, he got an electric spark right on the end of his nose! If you have ever had a little shock from an electric machine, and can imagine how it would have felt on the tip of your nose, you will have no doubt that pussy was shocked. He backed off very slowly, considering. His topaz eyes got bigger and brighter, and his back higher and higher, and his tail plumier and plumier, every minute. His fur stood out in all directions, and he lifted his paws and set them down most carefully. He backed, and he backed, until he came up against the pillows, and then he turned around and realized that there was another iron thing behind him. Was that bewitched, too? At any rate, he would be cautious this time and see what happened. He sat and looked at it for some seconds. Then he reached out a paw very deliberately and daintily--and got another spark on the tip of that! You see, he had come all the way across the woolen blankets, and made electricity at every step. Then he gave it up. He hopped off the bed in a panic and fled down the stairs. He came up again after awhile, and curled up on his usual cushion to go to sleep, but he was a very much puzzled cat, and there is no doubt that pussy was shocked. OUR LESSON.--For April 19. PREPARED BY MARGUERITE COOK. Title.--The Cost of Discipleship.--Luke 14:25-35. Golden Text.--Whosoever shall lose his life for my sake shall find it.--Matt. 16:25. _Golden Text for Beginners._--_Be ye kind one to another._--Eph. 4:32. Truth.--If we would belong to Jesus, we must deny ourselves. 1. Jesus spoke to a great crowd that followed him and told them that if they wanted to be his disciples they must love him better than all else in the world. [Illustration] 2. He said if they would be his disciples they must be willing to take up their cross and follow him. [Illustration] 3. He meant that they must be willing to do hard things for his sake. 4. He said if a man wanted to build a tower he would first see if he had money enough to build it all. [Illustration] 5. If the man began to build and could not finish it people would laugh at him. 6. Jesus wanted to teach them that they should be patient and finish whatever they began. 7. If we want to be friends of Jesus we must love him best of all and obey his words, no matter how hard we may find it to do so. 8. The love of Jesus in our heart helps us to be good and makes it easy for us to obey him and do hard things for his sake. 9. Salt is useful to keep food good and to make it taste pleasant to us. [Illustration] 10. If the salt loses its taste and strength it is useless and is thrown out. 11. So it is with our love for Jesus; if it is not strong and true it will be of no use to us or anyone else. 12. The true love of Jesus in our hearts grows stronger day by day and makes us useful and helpful to those around us. * * * * * QUESTIONS. What is the Golden Text? What is the Truth? 1. What did Jesus tell the people they must do if they wanted to be his disciples? 2. If they would be his disciples what must they be willing to do? 3. What did he mean by this? 4. If a man wanted to build a tower what would he first do? 5. When would the people laugh? 6. What did Jesus want to teach them? 7. If we want to be friends of Jesus what must we do? 8. What does the love of Jesus in our hearts do? 9. Of what use is salt? 10. When is salt thrown out? 11. When is our love for Jesus of no use to us or anyone else? 12. What does the true love of Jesus in our hearts do? * * * * * LESSON HYMN. _Tune._--"Jesus loves me, this I know," omitting chorus (E flat). Jesus said, "Come, follow me, And my true disciples be; Give up all that leads astray, Walk beside me day by day." * * * * * Title of Lesson for April 26. The Lost Sheep and the Lost Coin.--Luke 15:1-10. * * * * * Golden Text for April 26. There is joy in the presence of the angels of God over one sinner that repenteth.--Luke 15:10. * * * * * Beginners Golden Text for April 26. _God is love._--1 John 4:8. Knowledge Box How Trees Know Their Birthdays. Willard wondered how old the pretty graceful maple that grew outside his window was. "I don't know exactly," said mother, "five or six years I should think. But the maple has the story of each birthday shut up safe inside its trunk. If the tree should blow down, or we should ever cut it down we could tell how many years it had lived. "Each year a layer of soft green wood grows right next to the bark, and when winter comes this wood hardens until it is like the other wood. So when the tree is cut down we see in rings of wood the number of years it has been growing." --_Zelia Margaret Walters._ Advice to Boys and Girls Hanging Out Signs. Grace had a sprained ankle when the new little girl moved next door. One afternoon a week later mother came in to tell Grace that the new little girl had come over for a visit. "I'm glad," said Grace. "Please bring her up, mother, I like her." "Why," said mother, "you've never seen her." "Yes, but I could hear her every day from my window," said Grace. "I heard her talk to her little brother, and she's so kind and jolly, and she never says mean things to the dog, and when her mother calls, she says, 'yes, mother,' just as pleasant, and runs right away to see what she wants. She's always singing, too. I know she's nice." "So little June has been hanging out signs telling just what she was though you haven't seen her," said mother with a smile. "I hope my daughter is putting out as good signs both for those who hear her, and those who see her." What kind of signs are you hanging out, boys and girls? You are putting out some kind all the time. What would the next-door neighbor think of you if she only heard what you said to mother, and little brother, and the pets? Would she know you were kind, or would she think you were cross? Or suppose your neighbor were deaf, and could only see what you did. Would she read the sign of smiles on your face, or the sign of frowns? Would she see prompt obedience, and cheerful work, or lagging footsteps, and the shirking of tasks? Look over your signs to-day, and see if you are hanging out pleasant ones so that people will be sure you are nice. --_Jane West._ [Entered at the Post Office at Elgin, Ill., as Second Class Mail Matter.] Price of Dew Drops.--In lots of five or more, to one address, 20 cents per copy per year, or 5-1/2 cents per copy per quarter. Address, DAVID C. COOK PUBLISHING CO., ELGIN, ILL. *** END OF THE PROJECT GUTENBERG EBOOK DEW DROPS, VOL. 37, NO. 16, APRIL 19, 1914 *** 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.