The Nursery, December 1877, Vol. XXII. No. 6 / A Monthly Magazine for Youngest Readers
Date: 2009-02-20T00:00:00+00:00
Keywords: Children's literature; American -- Periodicals

The Project Gutenberg eBook of The Nursery, December 1877, Vol. XXII. No. 6

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Nursery, December 1877, Vol. XXII. No. 6

Author: Various

Release date: February 20, 2009 [eBook #28140]

Language: English

Credits: Produced by Emmy, Juliet Sutherland and the Online
Distributed Proofreading Team at http://www.pgdp.net. Music
by Linda Cantoni.

*** START OF THE PROJECT GUTENBERG EBOOK THE NURSERY, DECEMBER 1877, VOL. XXII. NO. 6 ***

THE

NURSERY

A Monthly Magazine

For Youngest Readers.

VOLUME XXII.—No. 6.

BOSTON:
JOHN L. SHOREY, No. 36 BROMFIELD STREET,
1877.

Entered according to Act of Congress, in the year 1877, by
JOHN L. SHOREY,
In the Office of the Librarian of Congress at Washington.

FRANKLIN PRESS:
RAND, AVERY, AND COMPANY,
117 FRANKLIN STREET,
BOSTON.

IN PROSE.

| PAGE
The Starlings and the Sparrows | 164
Katie and Waif | 166
Amy and Robert in China | 169
About two old Horses | 171
Baby's Exploit | 173
Drawing-Lesson | 177
Birdie's Pig Story | 180
Our Friend the Robin | 181
Frank's high Horse | 183
Sagacity of a Horse | 185
Phantom | 186

IN VERSE.

| PAGE
The last Guest | 161
For Ethel | 172
The Fox and the Crow | 176
The Swallows and the Robins | 178
Christmas (with music) | 188

THE LAST GUEST.

THE MORNING AFTER THE PARTY.

MARY (angrily).

Tommy, you deceiver!
You've turned a regular thiever:
I've let the light in on your deeds,
You needn't sneak away.
You thought it mighty pleasant
To devour that dainty pheasant;
Which cook and I for breakfast meant
To have this very day.

TOM (calmly).

Miss Mary, I assure you
You're entirely mistaken:
I was finishing my supper—
Don't call me thief or brute,
But please be so obliging
As to broil a slice of bacon
As my reward for self-control:
I haven't touched the fruit.

MARY (sneeringly).

For that there is good reason,
You thing of craft and treason;
You did not touch the grapes, because
The grapes you do not like.
You get no slice of bacon
From me, since you have taken
The bird I'd set my heart upon.
Away, or I will strike!

TOM (derisively).

Be patient, Mistress Mary,
Of broomsticks I am wary:
The door is open, and I see
What you would now be at.

MARY (angrily).

Away! obey my order,
You sneaking, base marauder!
I'll teach you to steal birds again!
Be off! Take that, and—Scat!

[Exit Tommy at double-quick time, followed by Mary, who strikes with the
broom, but does not hit.]

Alfred Selwyn.

THE STARLINGS AND THE SPARROWS.

"Look here, my dear," said a starling to her mate: "in our pretty summer-villa a pair of saucy sparrows have taken up their abode. What shall we do?"

"What shall we do?" cried Mr. Starling, who was calmly standing on a fence; "why, rout them out, of course; give them notice to quit."

"That we will do," replied Mrs. Starling. "Here, you beggars, you: out of that house! You've no business there. Be off!"

"What's all that?" piped Mrs. Sparrow, looking out of her little round doorway. "Go away, you impudent tramp! Don't come near our house."

"It is not your house!" said Mr. Starling, springing nimbly to a bough, and confronting Mrs. Sparrow.

"It is ours!" cried Mr. Sparrow, looking down from the roof of the house. "I have the title-deeds. Stand up for your rights, my love!"

"Yes, stand up for your rights. I'll back you," said Mrs. Sparrow's brother-in-law, taking position on a branch just at the foot of the house.

"We'll see about that, you thieves!" cried Mrs. Starling, in a rage, making a dash at Mrs. Sparrow's brother-in-law.

But two of Mrs. Sparrow's cousins came to the rescue just then, and attacked Mrs. Starling in the rear.

Thereupon Mr. Starling flew at Mrs. Sparrow. Mr. Sparrow, without more delay, went at Mr. Starling. Mrs. Sparrow's brother-in-law paid his respects to Mrs. Starling. There was a lively fight.

It ended in the defeat of the sparrows. The starlings were too big for them. The sparrows retreated in good order, and left the starlings to enjoy their triumph.

"Now, my dear," said Mr. Starling, "go in, and put the house in order. I'll warrant those vulgar sparrows have made a nice mess in there. Sweep the floors, dust the furniture, and get the beds made. I'll stay here in the garden, and rest myself."

"Just like that husband of mine!" muttered Mrs. Starling: "I must do all the work, while he has all the fun. But I suppose there's no help for it."

So she flew up to the door of the house; but, to her surprise, she could not get through it: the opening was not large enough.

"Well, Mr. Starling," said she, "I do believe we have made a mistake. This is not our house, after all."

"Why did you say it was, then?" said Mr. Starling, in a huff. "Here I have got a black eye, and a lame claw, and a sprained wing, and have lost two feathers out of my tail, all through your blunder. You ought to be ashamed of yourself, Mrs. Starling!"

"I own that I was hasty," said poor Mrs. Starling; "but I meant well."

"Yes, you thought the sparrows were thieves, and so did I. But it turns out, that we are no better than burglars ourselves; and, what's more, we shall have a whole army of sparrows back upon us before long. We had better take ourselves off." And off they flew.

Dora Burnside.

KATIE AND WAIF.

I am Katie Sinclair, and Waif is my dog. Now, as everybody who knows him says he is the nicest dog in the world, I will tell my "Nursery" friends why people think so.

First I must tell you how I got him, and how he came to have such an odd name. One cold, rainy day, about three years ago, I heard a strange noise under the window, and ran to the door to see what it was. There stood a homely little puppy, dripping wet, shivering from the cold, and crying, oh, so mournfully!

I took him in, and held him before the fire till he was dry and warm. Then I got him some nice fresh milk, which he drank eagerly; and he looked up in my face in such a thankful way, that he quite won my heart.

"Poor little dog!" said I. "He hasn't had a very nice time in this world so far; but I will ask mamma to let him stay and be my dog." Mamma consented; and, if that dog has not enjoyed himself since then, it is not my fault.

I was bothered not a little to find a name for him. I wanted one, you see, that would remind me always of the way he came to me,—not a common name, such as other little dogs have. No; I did not want a "Carlo," or a "Rover," or a "Watch." After trying in vain to think of a name fit for him, I asked mamma to help me.

She said, "Call him Waif." I was such a little goose then (that was over three years ago, you know), that I had to ask her what "Waif" meant.

"A waif," said she, "is something found, of which nobody knows the owner. On that account 'Waif' would be a good name for your puppy." So I gave him that name, and he soon got to know and answer to it.

Waif grew fast, and we taught him ever so many tricks. He has learned to be very useful too, as I shall show you.

On a shelf in the kitchen stands a small basket, with his name, in red letters, printed upon it. To this basket he goes every morning, and barks. When Ellen the cook hears him, she takes the basket down, and places the handle in his mouth. Then he goes to mamma, and waits patiently till she is ready, when he goes down town with her, and brings back the meat for dinner.

When papa gets through dinner, he always pushes back his chair, and says, "Now, Waif:" and Waif knows what that means; for he jumps up from where he has been lying,—and, oh! such fun as we have with him then! He walks on his hind-feet, speaks for meat, and catches crumbs.

Last summer I went out to Lafayette to visit grandma. Mamma says, that, while I was away, Waif would go to my room, and sniff at the bed-clothes, and go away whining and crying bitterly. When I came back, he was nearly beside himself with delight.

We never found out where he came from that rainy day. But I don't love him a bit the less because he was a poor, friendless puppy; and when I look into his good, honest brown eyes, and think what a true friend he is, I put my arms around his neck, and whisper in his ear, that I would not change him for the handsomest dog in the country.

S. E. R.

AMY AND ROBERT IN CHINA.

Amy and Robert, with their papa and mamma, live in China, in a place called Foochow. They came here last January, when Amy was just three years old, and Robert a little over one year. They came all the way from Boston by water.

They have a good grandma at home, who sends Amy "The Nursery" every month, and she is never tired of hearing the nice stories.

Out here, the children see many things that you little folks in America know nothing about. When they go to ride, they do not go in a carriage drawn by horses, but in a chair resting on two long poles, carried by some Chinamen called coolies. When it is pleasant, and the sun is not too hot, the chair is open; but, if it rains, there is a close cover to fit over it.

It is so warm here, that flowers blossom in the garden all winter; and Amy is very fond of picking them, and putting them into vases. When it is too warm to go into the garden, she has a pot of earth on the shady piazza, and the cooly picks her flowers, to plant in it.

Foochow is on a large river; and the children like much to go out in the sail-boats, called "house-boats." These boats are fitted up just like a house, with a dining-room, sleeping-room, bath-room, and pantry.

The night before Fourth of July, Amy and Robert started with their papa, mamma, and Amah (their colored nurse), and went to Sharp Peak, on the seashore, twenty-five miles from here. They found the boat very nice to sleep in, but were glad enough to get into their own beds the next night.

I am afraid you would not know what these little children say, if you should hear them talk; for they pick up words from their Amah, and do not speak like little American girls and boys.

By and by I shall have more to tell you about them.

Amy's Mamma.

ABOUT TWO OLD HORSES.

In my great-great-grandfather's barn-yard stood an old-fashioned well, with a long sweep or pole, by which the bucket was pulled up. This well was used entirely for the horses and cattle.

Grandfather had a horse named Pete, who would walk out of his stall every morning, go to the well, take the pole, by which the bucket was attached to the well-sweep, between his teeth, and thus pull up the bucket until it rested on the shelf made for it. Then old Pete would drink the water which he had taken so much pains to get.

But one of my uncles had a horse even more knowing than old Pete. This horse was named Whitey. Every Sunday morning, when the church-bell rang, Uncle George would lead Whitey out of his stall, harness him, drive him to church, and tie him in a certain shed, where he would stand quietly till church was done.

After a while, Whitey grew so used to this weekly performance, that, when the bells rang, he would walk out of his stall, and wait to be harnessed. One Sunday morning, Old Whitey, on hearing the bells, walked out of his stall as usual, and patiently waited for Uncle George. But it happened that uncle was sick that morning, and none of the family felt like going to church.

I do not really know what Whitey's thoughts were; but I have no doubt that they were something like this: "Well, well! I guess my master is not going to church this morning; but that is no reason why I should not go. I must go now, or I shall be late."

Whitey had waited so long, that he was rather late; but he jogged steadily along to his post in the shed, and there took his stand, as usual.

As soon as old Mr. Lane, who sat in one of the back-pews and always came out of church before anybody else, appeared at the door, Whitey started for home. At the door of the house he was greeted by several members of the family, who had just discovered his absence, and who learned the next day, from Mr. Lane, that old Whitey had merely been attending strictly to his church-duties.

K. H. S.

FOR ETHEL.

"Good-by! little Ethel, good-by!" says the Light;
For what does my sleepy one need but the night?—
The soft quiet night, like a great downy wing,
To shelter the wee ones, too tired to sing.

Good-by till the dawning:
Some bright star will keep
Its watch o'er your pillow
When you are asleep!

"Good-by, little Ethel," so many things say,—
The wind, that has played in the grasses all day,
The pretty red squirrels you never can catch,
And the kitten, that tries all your playthings to snatch.

When bird, bee, and blossom
Their bright eyes must close,
Is Ethel awake?
Go to sleep like a rose.

Charlotte M. Packard.

BABY'S EXPLOIT.

In the first place baby had her bath. Such a time! Mamma talked as fast and as funny as could be; and the baby crowed and kicked as if she understood every word.

Presently came the clean clothes,—a nice, dainty pile, fresh from yesterday's ironing. Baby Lila was seven months old that very May morning; but not a sign had she given yet of trying to creep: so the long white dresses still went on, though mamma said every day, "I must make some short dresses for this child. She's too old to wear these dragging things any longer."

When baby had been dressed and kissed, she was set down in the middle of the clean kitchen-floor, on her own rug, hedged in by soft white pillows. There she sat, serene and happy, surveying her playthings with quizzical eyes; while her mamma gathered up bath-tub, towel, and cast-off clothes, and went up stairs to put them away.

Left to herself, Lila first made a careful review of her treasures. The feather duster was certainly present. So was the old rattle. Was the door-knob there? and the string of spools? Yes; and so was the little red pincushion, dear to baby's color-loving eyes.

She was slowly poking over the things in her lap, when mamma came back, bringing a pot of yeast to set by the open fire-place, where a small fire burned leisurely on this cool May morning. She put a little tin plate on the top of the pot, kissed the precious baby, and then went out again. Baby Lila was used to being left alone, though seldom out of mamma's hearing. At such times she would sit among the pillows, tossing her trinkets all about, and crowing at her own performances. Sometimes she would drop over against a pillow, and go to sleep.

But this morning Lila had no intention of going to sleep. She flourished the duster, and laughed at the pincushion; then gazed meditatively at the bright window, and reflected gravely on the broad belt of sunshine lying across the floor. That speculation over, she fell to hugging the cherished duster, rocking back and forth as if it were another baby.

A smart little snap of the fire,—a "How-do-you-do?" from the fire-place,—made the baby twist her little body to look at it. She watched the small flames dancing in and out, as long as her neck could bear the twist.

As she turned back again, her eyes fell on the pot of yeast. Oh! wasn't that her own tin plate shining in the sunlight? Didn't she make music on it with a spoon every meal-time? and hadn't her little gums felt of every A, B, C, around its edge? Didn't she want it now? And wouldn't she have it too?

How she ever did it, nobody knows. How she ever got over the pillows, and made her way across to the fire-place in her long, hindering skirts, nobody can tell.

Mamma was busy in another room, when she heard the little plate clatter on the kitchen-floor. Not a thought of the real mischief-maker entered her head. She only said to herself,—

"I didn't know the cat was in there. Well, she'll find out her mistake. I'm not going in till I get this pie done, any way. The baby's all right, and that's enough."

As soon as mamma's hands were at liberty, she thought she would just look in and see what kept the darling so quiet. "All right," indeed! What a spectacle she beheld!

On the bricks before the fire, her pretty white skirts much too near the ashes, sat Baby Lila, having a glorious time. She had found her dear little plate empty; but the brown pitcher was full enough. She had dropped the plate, dipped the feather-duster into the yeast, and proceeded to spread it about, on her clean clothes, on the bricks, on the floor, everywhere.

So, when mamma opened the door, she saw this wee daughter besmeared from head to foot, the yeast dripping over her head and face as she held the duster aloft in both hands.

Just then papa came in by another door. "O John! do you see this child! What if she had put the duster into the fire instead of the yeast!" Mamma shuddered as she took little Lila into her lap for another bath and change of clothes. Papa standing by said,—

"You don't seem to mind having all that to do again."

"Indeed I don't. To think how near she was to that fire! I can never be thankful enough that she dusted the yeast instead of the coals. But how do you suppose she ever got over there?"

S. D. L. H.

THE FOX AND THE CROW.

A crow, one day, stole a nice bit of cheese,
And flew up in a tree to eat it at her ease.
A sly young Fox, who was passing below,
Saw her as she flew, and he said, "Oh, ho!
Madam Crow."

"What a fine bird you are, with your feathers so gay!
As brilliant as the rainbow, and fairer than the day.
If your voice is as sweet as your form would show,
Then sing me a song: pray don't say 'No,'
Madam Crow."

The crow began her song, when down fell the cheese:
The fox sprang and caught it as quickly as you please;
And as he trotted off, he said, "Oh, ho!
That is just what I wanted. I'll go,
Madam Crow."

Annie Moore.

DRAWING-LESSON.

THE SWALLOWS AND THE ROBIN.

The woods were showing autumn tints
Of crimson and of gold;
The sunny days were growing short,
The evenings long and cold:
So the swallows held a parliament,
And voted it was time
To bid farewell to northern skies,
And seek a warmer clime.

Southward with glad and rapid flight
They flew for many a mile,
Till in a quiet woodland glen
They stopped to rest a while:
A streamlet rippled in the dell;
And on a hawthorn-tree
A robin-redbreast sat alone,
And carolled merrily.

The wandering swallows listened,
And eagerly said they,
"O pretty bird! your notes are sweet:
Come, fly with us away.
We're following the sunshine,
For it is bright and warm:
We're leaving winter far behind
With all its cold and storm.

"The iron ground will yield no food,
The berries will be few;
Half-starved with hunger and with cold,
Poor bird, what will you do?"
"Nay, nay," said he, "when frost is hard,
And all the leaves are dead,
I know that kindly little hands
Will give me crumbs of bread."

C.

The English Robin.

BIRDIE'S PIG STORY.

I told my story first, as mammas usually do; and it was all about a naughty little pig, who did not mind his mother when she bade him stay in the sty, but crawled through a hole in the wall.

Of course this pig got into the garden, and was whipped by the farmer, and bitten by the dog, and had all sorts of unpleasant things happen to him, till he was glad to get back again to the sty.

"Now I'll tell you a pig story," said Birdie, with a very wise look.

"Once there was a big mother-pig, and she had lots of children-pigs. One was spotted, and his name was Spotty; one's tail curled, and he was Curly; another was white, and he was Whitey; another was Browny; and another was Greeny."

"Oh, dear! the idea of a green pig!" said I.

But Birdie's eyes were fixed on the floor. He was too busy thinking of his story to notice my remark. He went on,—

"One day the pigs found a hole in the wall, and they crawled through,—all of 'em, the mother-pig and all; and, when they got out, they ran off, grunting with—with joy. And when the farmer saw them, he went after them on a horse; but he couldn't catch them, for they all ran down under a bridge where there had been a brook; but the water was all dried up.

"Then the farmer got a long pole, and poked under the bridge; but he couldn't reach them. He put some potatoes down there too, but the pigs weren't going to be coaxed out. And when they had staid as long as they wanted to, they came out themselves, and got home before the farmer did."

That was the story, and I forgot to ask how they got home before the farmer did unless he drove them; but I think they must have gone home across the field, because it is plain that Birdie's pigs did just as they liked all through. What I did ask was, "Well, what was the good of it all?" for I thought nobody ought to tell a story without meaning some good by it.

"Why, they got some fresh air!" cried Birdie, triumphantly; and considering that most farmers keep their pig-sties in a filthy condition, which can't be healthy for the pigs, nor for those who eat them, I thought Birdie's story had a very good moral, which is only another way of saying that it had a good lesson in it.

Birdie's Mamma.

OUR FRIEND THE ROBIN.

One very hard winter, a robin came, day after day, to our window-sill. He was fed with crumbs, and soon became tame enough not to fly away when we opened the window. One cold day we found the little thing hopping about the kitchen. He had flown in at the window, and did not attempt to fly out again when we came near.

We did not like to drive him out in the bitter cold: so we put him in a cage, in which he soon made himself quite at home. Sometimes we would let him out in the room, and he would perch on our finger, and eat from our hand without the least sign of fear.

When the spring came on, we opened the cage-door and let him go. At first he was not at all inclined to leave us; but after a while he flew off, and we thought we should never see him again.

All through the summer and autumn, the cage stood on a table in a corner of the kitchen. We often thought of the little robin, and were rather sorry that the cage was empty.

When the winter set in, we fancied we saw our old friend again hopping about outside the window. We were by no means sure that it was the same robin; but, just to see what he would do, we opened the window, and set the cage in its old place.

Then we all left the room for a few minutes. When we returned, we found, to our great delight, that the bird was in the cage. He seemed to know us as we petted him and chirruped to him; and we felt certain that it was our dear old friend.

T. C.

Chiswick, London.

FRANK'S HIGH HORSE.

Frank wanted a high horse: so he took the sewing-chair, put the hassock on it, put the sofa-pillow on that, and mounted.

How he got seated up there so nicely I don't know; but I know just how he got down.

The horse did not mind the bridle, but he would not stand the whip. He reared, lost his balance, and fell over.

Down came Frank with sofa-pillow, hassock, and all. By good luck, he was not hurt; but he will not try to ride that horse again.

A. B. C.

SAGACITY OF A HORSE.

A Young gentleman bought a hunting-mare from a farmer at Malton in England, and took her with him to Whitby, a distance of nearly sixty miles. One Wednesday morning the mare was missing from the field where her owner had placed her. A search was made for her, but with no success.

The next day the search was renewed. The owner and his groom went some ten miles, and were told that the mare had crossed the railway the morning before. At this point the trail was easy. The mare had taken the high road to her old home at Malton.

Six men had tried, but in vain, to stop her. At a place called Pickering, she jumped a load of wood and the railway gates, and then, finding herself in her old hunting country, made a bee-line for home. In doing this, she had to swim two rivers, and cross a railway.

She was found at her old home, rather lame, and with one shoe off, but otherwise no worse for her gallop of nearly sixty miles across the country,—all done in one day; for her old owner found her on Wednesday night, standing at the gate of the field where she had grazed for two previous years. Was she not a pretty clever horse?

Uncle Charles.

PHANTOM.

We have a little white dog whose name is Phantom. This is his portrait. I hope you are glad to meet him. Ask him to shake hands. He would do so at once if you could only see him in reality.

When he was only a few months old, he followed us all to church without our knowing it; nor did we see him, till, in the most solemn part of the service, we heard a patter, patter, patter, coming up the aisle, and there stood Phantom at the door of our pew. In his mouth was a long-handled feather duster, which he had found in some obscure corner of the building, and where it had been put (as it was supposed) carefully out of everybody's way.

Phantom is very intelligent, and has learned a number of tricks. He can understand what is said to him better than any dog I ever knew; but he is best known among the children here for his love of music and singing.

He has only learned one song yet; but he knows that as soon as he hears it. Wherever he may be,—up stairs, or down stairs, or out of doors,—if he hears that song, he will sit up, throw his head back, and you will hear his voice taking part in the music.

You may sing a dozen songs, all in about the same tone; but he will take no notice till he hears the tune he has learned, and then he will sing with you—not in a bark or a yelp, but in a pure, clear voice, as if he enjoyed it.

If you could see him sitting up, with his nose in the air, his mouth open, and his fore-paws moving as if playing the piano, and could hear his music, I am sure you would laugh till the tears came into your eyes.

Uncle Tiffy.

Carondelet, Mo.

CHRISTMAS.

Words by Alfred Selwyn.[A]                     Music by T. Crampton.

[Transcriber's Note: You can play this music (MIDI file) by clicking here.]

Hark! the bells are sounding, | Welcome to our pleasures
Christmas draweth nigh; | And our Christmas cheer!
Now let joy abounding, | We'll not stint the measures,
Bid all sorrow fly. | Would you all were here!

Ye who pine in sorrow,

Boys and girls together—

Come be cheer'd to-day; | From all parts and climes,
Of our gladness borrow, | To enjoy this weather,
As you freely may. | And these Christmas times!

FOOTNOTE:

[A] Nursery, 1876.

Transcriber's Notes

The July edition of the Nursery had a table of contents for the next six issues of the year. This table was divided to cover each specific issue. A title page copied from this same July edition was also used for this number and the issue number added after the Volume number.

Page 176, period added to end of paragraph (in both hands.)

*** END OF THE PROJECT GUTENBERG EBOOK THE NURSERY, DECEMBER 1877, VOL. XXII. NO. 6 ***

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.

Table of Contents

- THE

- NURSERY

- A Monthly Magazine For Youngest Readers.

- IN PROSE.

- IN VERSE.

- THE LAST GUEST.

- THE MORNING AFTER THE PARTY.

- THE STARLINGS AND THE SPARROWS.

- KATIE AND WAIF.

- AMY AND ROBERT IN CHINA.

- ABOUT TWO OLD HORSES.

- FOR ETHEL.

- BABY'S EXPLOIT.

- THE FOX AND THE CROW.

- THE SWALLOWS AND THE ROBIN.

- BIRDIE'S PIG STORY.

- OUR FRIEND THE ROBIN.

- FRANK'S HIGH HORSE.

- SAGACITY OF A HORSE.

- PHANTOM.

- CHRISTMAS.

- FOOTNOTE:

- Transcriber's Notes

- THE FULL PROJECT GUTENBERG LICENSE