    The Project Gutenberg EBook of Punch, or the London Charivari, Vol. 105
    December 30, 1893, by Various

    This eBook is for the use of anyone anywhere at no cost and with
    almost no restrictions whatsoever.  You may copy it, give it away or
    re-use it under the terms of the Project Gutenberg License included
    with this eBook or online at www.gutenberg.org

    Title: Punch, or the London Charivari, Vol. 105 December 30, 1893

    Author: Various

    Editor: Francis Burnand

    Release Date: September 1, 2012 [EBook #40636]

    Language: English

    Character set encoding: ISO-8859-1

    *** START OF THIS PROJECT GUTENBERG EBOOK PUNCH ***

    Produced by Malcolm Farmer, Lesley Halamek and the Online
    Distributed Proofreading Team at http://www.pgdp.net

[pg 301]

# Punch, or the London Charivari

## Volume 105, December 30, 1893.

#### edited by Sir Francis Burnand

### PORTRAIT OF MR. "MINCE-PIE,"

THE M.P. for Christmas.

## THE ADVENTURES OF PICKLOCK HOLES.

#### (By Cunnin Toil.)

### No. VII.—THE STOLEN MARCH.

#### (Continued.)

As soon as we entered the drawing-room all the little Gumpshons clapped their hands with delight, and surrounded their Uncle Picklock, each of them attempting to infer from the expression on the great detective's countenance what it was that he carried in his left coat-tail pocket. "I know what it is," said Edgar Allan Poe Gumpshon, a boy of fifteen; "it's plum-cake. I know it must be, because I never seed it, so it ain't seed-cake." Gaboriau Gumpshon, aged thirteen, opined it was a packet of bull's-eyes, "'cos that's what detectives always carry on dark nights," whilst Ann Radcliffe Gumpshon declared with certainty that it must be nuts, for she had just heard a cracker explode in the street. "Children," said Picklock Holes, "you are nearly right. Your powers have much improved. I am delighted to see that you are kept up to the mark;" and, speaking thus, he produced from his pocket an apple, which he presented to Edgar, a pocket-knife which he handed to the jubilant Gaboriau, and a pincushion, which was immediately clasped and carried off in the chubby hand of little Ann Radcliffe. "A year ago," said Picklock, turning to me, "these children could not have reasoned inductively with one half of their present approximate accuracy; but my dear sister, Heaven bless her! is a wonderful teacher, the best and cleverest of us all. Indeed, indeed you are, Philippa," he continued, warmly embracing Mrs. Gumpshon. "I am a mere bungler compared to you. But come, let us to business." At a signal from Lady Holes the happy children trooped off to bed, and we elders were left alone.

Sir Aminadab opened the conversation. "I sent for you, my dear boy," he said, "because I have just received from one of my agents in the North information of an important case which demands immediate investigation. Neither Hayloft nor Skairkrow can go, having business that keeps them in London. I look, therefore, to you to cover the family name with new lustre by solving this extraordinary mystery." Here the old man paused, as though overcome by emotion. Picklock encouraged him with an expressive look, and he continued:—

"This morning," he said, "I received from my agent this letter." He drew a sheet of paper from his breast-pocket, and read, in tremulous tones, as follows:—

"'Tochtachie Castle, Daffshire.

"'Sir,—Lord Tochtachie has been robbed. I overheard him last night conversing with the Hon. Ian Strunachar, his eldest son, who used the following words: "Not a doubt of it. They have stolen a march——" More I could not hear at the moment. The case is of immense importance, and I trust you will lose no time in sending a competent investigator. I have, of course, concealed both my presence here and my knowledge of the theft from his lordship.

"'Yours faithfully,

'David McPhizzle.'"

"There, my boy, is the case. Will you go and help a Scotch representative peer to recover his own? Think how terrible it must be to lose the march or boundary that separates your ancestral domain from that of a neighbour whose whole course of life may be antipathetic to you. Will you go?"

A wave of emotion passed over my friend's face. I could see that a struggle of no ordinary kind was raging in his breast. Finally, however, he looked at me, and his mind, I knew, was made up. In another ten minutes we had bidden adieu to his family, and were speeding northwards in the Scotch express.

Over the details of the journey it is not necessary to linger. Suffice it to say that on the following morning we arrived at Tochtachie, and took up our quarters in a deserted barn situated in the very centre of the estate. From this point we pursued our investigations. Our first proceeding was to interview the local constabulary, but we found them as obtuse and as foolishly incredulous as policemen are all the world over. One of them, indeed, went so far as to hint that Holes was "havering," which I understand to be an ancient Gaelic word signifying metaphysical talk, but a look from the great detective chilled him into silence. Day by day we worked, and not even the night gave us a rest from our self-sacrificing labours. We mapped out the whole district into square yards; we gathered the life-history of every single inhabitant on the estate; we left no clue untracked, no loophole unblocked, no single piece of evidence unexamined, no footstep unmeasured. We collected every scrap of torn letter, every crumpled telegram-form. The very heather of the moor, and the trees growing in the policies of the Castle were compelled by Holes' marvellous inductive powers to yield to us their secrets, until after weeks of patient toil we at last judged ourselves to be in possession not only of the stolen march, but also of evidence that would bring conviction home to the guilty party. We had paused, I remember, by a heap of granite at the roadside. Holes seemed strangely excited. "A march," I heard him muttering, "is performed by footsteps; steps are often made of stone. Can this be it? It must be! It is!" Then, with a shout of triumph, he gave orders to have the heap loaded on to a country cart, which was to follow us to the Castle.

We arrived in the great courtyard at about seven o'clock in the evening. Holes slipped from my side, entered the house, and after a few moments returned to my side. We then clanged the bell, and demanded to see his lordship. In a few moments Lord Tochtachie appeared, surrounded by kilted retainers, bearing torches, and intoning in unison the mournful sporan of the clan. It was a weird and awful sight. But Holes, unemotional as ever, advanced at once to the haughty Scotchman, before whose eye half a county was accustomed to tremble, and, without any ado, addressed him thus: "My Lord, your march has been stolen. Nay, do not interrupt me. Your guards are careless, but not criminal—of that I can assure you. Here is the stolen property; I restore it to you without cost." At this moment the cart rumbled up, and ere the peer had time to utter a word, it had discharged its contents into the middle of the yard. Holes went on, but in a lower voice, so as to be heard only by Lord Tochtachie: "The guilty party, my Lord, is your honoured father-in-law. He dare not, he cannot, deny it. He is, I know, blind and deaf and dumb. These qualities do not, however, exclude the possibility of crime. I have just found these pieces of granite in his morning-room. The proof is complete."

At this moment a shot was heard in the Castle, and directly afterwards a frightened butler rushed up to his lordship and whispered to him. "Ha! say you so?" almost screamed Lord Tochtachie. "That amounts to a confession. Mr. Holes," he continued, "you have indeed rendered me a service. My unfortunate, but guilty father-in-law has shot and missed himself through the head. But in any ease the honour of the house is, I know, safe in your hands."

I need hardly say that Holes has never violated his lordship's confidence, and the Daffshire peasants still speculate amongst themselves upon the tortuous mystery of the march which was stolen and restored.

> Note.—There is no proof positive given by any eye-witness whose veracity is unimpeachable of the death of the great amateur detective as it has been described in the Strand Magazine for this month. Where is the merry Swiss boy who delivered the note and disappeared? What was the symbolic meaning of the alpenstock with the hook at the end, left on the rock? Why, that he had not "taken his hook." Picklock Holes has disappeared, but so have a great many other people. That he will turn up again no student of detective history and of the annals of crime can possibly doubt. Is it not probable that he has only dropped out of the Strand Magazine? And is it not equally probable that under some alias he will re-appear elsewhere?

> Verb. sap.—Ed.

Father Christmas leaves his cards on everybody about this time, as he is here only for one day, and off the next. He has employed Messrs. Marcus Ward & Co. to do them, and excellent they are all round.

[pg 302]

### THE OLD ORDER CHANGETH.

Lady Betty (proud of the old ancestral mansion where the family have lived ever since the reign of Henry the Eighth). "Just fancy what Papa's having done! He's having the Electric Light put in!"

Prosaic Sister-in-law (from Chicago). "I'm real glad to hear it. It'll be the making of the place!"

## ESSENCE OF PARLIAMENT.

#### EXTRACTED FROM THE DIARY OF TOBY, M.P.

House of Commons, Friday, December 22.—House adjourned for Christmas Recess; pleased to find that it will include the whole of Christmas Day. Some talk of being satisfied with the Sunday, spending Christmas Day in further pursuit of Parish Councils Bill. But after deliberation decided to have a real good holiday on Christmas Day. Came across Squire of Malwood just now. Was chalking up on door "Back in ten minutes."

Toby, M.P., enjoys his holiday.

"It's a little more than that, of course, Toby," he said. "But that has business-like look. Am told it's what they do in the City before going out for hasty luncheon."

The last I saw of Harcourt.

Enjoyed my holiday reading Herbert Maxwell's life of Old Morality just published by Blackwood. A difficult task; much easier to make attractive book out of life of Napoleon Bonaparte than with William Henry Smith as subject. That Maxwell has succeeded appears from fact that one leaves these volumes with warmer esteem and sincerer liking for Old Morality even than was born of close observation through many Parliamentary sessions. Maxwell has had full access to his correspondence and journals. Uses them with great discretion; they bring into mellow, clear light the capable, unselfish, courageous man, ever following the loadstar of Duty. House of Commons used to smile when Old Morality, faced by any difficulty or dilemma, talked about his "duty to his Queen and country." In his private letters he does not put it in that oratorical form. But they are full of references to the calls of duty. Stricken with a painful malady, worn in body and wounded in spirit, Old Morality still sturdily trod the narrow path. There is little doubt that had he, two years before the end came, retired from the Leadership of the House of Commons his genial presence might have been with us to-day. But he was wanted at his post, and he stuck to it.

Writing on the 17th March, 1889, he says: "We have trouble in politics, and I am very weary. But I must go on doing my daily work as best I can, looking for guidance and wisdom where alone it can be had until my rest comes." This cry for rest was always sounding, through day and night. A few weeks earlier he wrote to another friend: "I can say God help me. He will take me out of my work when I am no longer required, and then will come rest."

His last appearance in a semi-official capacity was in July, 1891, when he went to Hatfield to meet the German Emperor. In the last letter written to his wife he says, "Observing I looked tired last night, Lady Salisbury urged me to go to bed early: which I did." One of his colleagues in the Cabinet, a fellow-guest at Hatfield on this occasion, tells me he had occasion to know that Old Morality was in such pain he could not rest in his bed, spending the long night walking about the room, with occasional rest in an arm-chair. Not a word of this is written in the letter to Mrs. Smith, in which he reports that "everything has gone off wonderfully well to-day, which must be very satisfactory to the Salisburys." Under his bourgeois habit and unassuming manner W. H. Smith modestly hid a chivalrous mind and a noble nature. He had a kindly heart, too. But everyone knew that, since he wore it on his sleeve.

Business done.—Adjourned for so-called Christmas holidays. Think I'll go and call on Lobengula. "Back in ten minutes," as the Squire says.

### EDEPOL!

Sir,—"I'm all the way from Westminster," and the work I have to do is to let you know about the Latin play performed there. Plautus, in truth, is not a wildly exciting writer, and there is in the Trinummus a tameness which, extending, as it does, through five acts, becomes almost oppressive at the end. The young actors looked well and enunciated clearly, and one of them, Mr. J. F. Waters, showed considerable ability as an actor. But we don't go to the College of St. Peter at Westminster merely to see the play. There are other interests. It is pleasant to watch the Old Westminsters rubbing recollections with one another between the acts, and endeavouring gallantly during the performance to keep their rusty Latin abreast of the various situations. Laughter in a Latin play straggles. It is like a dropping fire of musketry. A Westminster master probably leads it off; various intelligent veterans take it up dutifully, and the ladies, bless their unlatinised minds, follow faintly towards the end. If a London manager wants applause in his theatre let him hire a contingent of small Westminster boys. They have attained to absolute perfection in the arts of the claque. At no Paris Theatre is it better done. The epilogue showed a pretty wit and a high degree of skill in the management of hexameter and pentameter. No one could have believed that the Kodak advertisement, "you press the button, we do the rest," would have made so good a Latin line. Much pleased, and so to bed.

Yours,

A Vagrant.

"A mere Question of Time."—Example: "What o'clock is it?"

[pg 303]

## OUR "HOUSE PARTY" AT CHRISTMAS.

[pg 304]

## NEW YEAR'S EVE AT LATTERDAY HALL.

#### (An Incident.)

Scene I.—Library in Latterday Hall, Sir Lyon Taymer's Country House. Sir Lyon Taymer discovered fuming by the mantelpiece, while his Secretary is glancing over some correspondence.

Sir Lyon (irritably). Here—I suppose you will have to answer this.

Secretary. What is that, Sir Lyon?

Sir Lyon. You know how anxious I am that my New Year's party should be a success. A whole heap of celebrities are coming, and, notwithstanding the immense expense, I engaged a party of Ghosts to amuse them. Now I have just had a telepathic communication from these Shadows of Shades—(that's all they are—only Ghosts of departed heroes and heroines in fiction)—asking whether they're to be treated on an equality with the other guests, or as mere entertainers! Did you ever hear of such impertinence! The spokesman—I should say, perhaps, the Spooksman—is, of all people in the other world, the VICAR OF WAKEFIELD. A clergyman too! It's quite inconsistent; and so snobbish!

Secretary. Dear Sir Lyon, excuse me, but it's perfectly natural that Ghosts should be a little sensitive on the social question. Remember, for years they were ignored, or looked upon as mountebanks. It is really only of late that there has been all this excitement about them, so it is not surprising they are anxious to be taken seriously.

Sir Lyon. Well, I suppose I am old-fashioned, but it seems to me quite ridiculous. These infernal Ghosts give themselves as many airs as though they were—the Blue Hungarians, at least.

Secretary. Ah, from a band we might expect airs. But I should advise you very strongly, Sir Lyon, to treat them as friends. You must be up to date.

Sir Lyon (with disgust). Allow them to dine—perhaps to dance—with my guests?

Secretary (with calmness). Certainly they will have to dine; and, as to dancing, of course they must, if they're received on an equal footing.

> [Smiles to himself at his joke.

Sir Lyon. Oh—well—I suppose I must give in. Let them know at once, and for heaven's sake mind they're punctual.

> [Scene closes as the Secretary hastily seizes a slate, and automatically writes to the Ghosts a very cordial and courteously-worded invitation.

Scene II.—New Year's Eve at Latterday Hall. In the magnificent dining-room are seated at dinner a large, well-known, and incongruous company. The Ghosts are chatting away in the most genial manner with the living distinguished people, and positively making the "celebrities" quite "at home." Daniel Deronda shows a marked liking for Dodo, whom he has taken to dinner, and is indulging in a light and airy flirtation with her, which takes a form peculiar to himself.

Dorian Gray taking Juliet in to dinner.

Daniel Deronda (earnestly). Who has ever pinched into its pilulous smallness the cobweb of matrimonial duty? Honesty is surely the broadest basis of joy in life.

Dodo (a modern Detail in accordion pleating, subject to morbid fits of irrelevant skirt-dancing). Oh, Mr. Deronda, what a silly girl I am! I can't bear that proverb about "Honesty being the best policy." It sounds like a sort of life Insurance.

> [Giggles contemporarily. Dorian Gray having taken Juliet to dinner, and not getting on with her very well, is staring with unfeigned horror at Rochester, opposite, who is bullying Jane Eyre to a pitiable extent. Behind him is a screen of gilt Spanish leather, wrought with a rather florid Louis Seize design and encrusted with pearls, moonstones, and large green emeralds.

Dorian (aside, to Young Subaltern, who has come Home. On leave. For Christmas). Who is that dreadful man?

Young Subaltern. Who? Old Rochester? Oh, he's a Plain Hero. From the past. He's all right. How well you're looking! Younger than ever, by Jove! Which is curious. But why that absurd buttonhole?

Dorian (hurt). You never like anything I wear. You Anglo-Indians are corrupt without being charming. This is a fault.

> [Arranges his fringe in an old Dutch-silver mirror on the opposite mantelpiece, framed in curiously-carved ivory Cupids, and studded with precious stones, chiefly opals, sapphires, and chrysoberyls.

Ethel Newcome (to Secretary). Who are those two pretty American girls? They seem to be attracting a great deal of attention. (I am completely forgotten, I notice.) Do their dresses come from Paris?

Secretary. No. I think not, dear Miss Newcome. From Messrs. Howells and James, I fancy.

Richard Feverel (cheerily, across the table to Mr. Pickwick). In tolerance of some dithyrambic inebriety—quiverings of semi-narration—we seem to be entering the circle of a most magnetic pseudo-polarity. Don't we?

Mr. Pickwick (puzzled). Very kind of you to say so, I'm sure. May I have the pleasure of taking wine with you?

> [Dinner proceeds with animation. Bootles' Baby, Little Jim, Paul Dombey, and the Heavenly Twins come in to dessert, and are more or less troublesome.

Sir Lyon (aside, to Secretary, when the ladies have retired). I say, you know I am afraid this is going to hang fire. It's nothing less than a miracle for a social affair to go off well when the people are not in the same set. Old Pickwick's been asking for "a wassail bowl." I haven't got such a thing about me; and I should have thought '74 champagne would have been good enough, but he says it's like our humour—too new! The children are bothering to know why there isn't a Christmas-tree.

Secretary. Tell them to go to the—Haymarket. The reward will be—swift. Might I suggest mistletoe? I should be very pleased to go under it with Madame Bovary, just to show the others how to——

Sir Lyon (stiffly). Much obliged, but I will not give you that trouble. If anyone goes under the mistletoe with Madame Bovary it will be myself. Remember that.

Secretary. Oh, certainly! I merely meant——How about crackers? I could set the thing going by pulling one with Miss Olivia. The old Vicar said just now, in his pointed, Gothic way, something about times having changed, and——

Sir Lyon. Yes, we'll have crackers, but you can leave me to pull the first one with Miss Olivia. It would look better. Perhaps we'd better let the Ghosts give their entertainment now—eh?

Secretary. I'll arrange it at once.

Scene III.—In the Hall, in which is a temporary theatre; all the Modern Celebrities are seated on rows of chairs, chattering, flirting, and discussing Insomnia and the New Criticism. Behind the scenes the Ghosts are disputing as to which shall recite first, the order of precedence depending entirely on the question as to which is the most completely defunct. Finally, Ernest Maltravers and Tom Jones go on together, and the Curtain goes up.

Ernest Maltravers (musingly, in a low yet ringing voice, in which Pride struggles with Emotion). Let us learn, from yon dinner-table, o'er which brooded the spirits of the Novelists of all time, to lift ourselves on the wings of Romanticism back to Bombastic and Primeval Prose. (Breaks off suddenly. Aside, to Tom Jones.) I cannot go on like this. We ought to have had a scenario.

Tom Jones (suppressing laughter, aside). Why, thou foolish scoundrel, is there not one in front? How else could be seated there so many fair ladies and gallant gentlemen?

[pg 305]

Ernest Maltravers (aside). In the contemplation of your idiocy, I curb with difficulty the impulse that leads me to crush the life from your bosom. Know, Ignorant One, that a scenario is not the same thing as an auditorium.

> [Tom Jones is about to attack him with fine old English violence, when the curtain suddenly falls. The entertainment is interrupted. The audience appear at once amused and shocked. Dorian takes out his little vinaigrette exquisitely set with turquoises, cymophanes, amethysts, and tourmalines, and offers it to the Subaltern, who, evidently unaware of its use, pockets it.

Subaltern. You got that out of a cracker, didn't you? I'll take it Home. For the kids.

> [The entr'acte is growing so prolonged that the Secretary goes behind the scenes to know the cause of the delay. He finds all confusion. The party has been increased by the presence of Mr. Stead's Spook Julia, who, having half an hour to spare, has come to protest against the "indignity" as she calls it, of fine old crusted Ghosts being expected to perform to a lot of mere modern myths. She speaks with such eloquence that she persuades them, one and all, to leave without finishing their performance and entirely without ceremony. Nothing the Secretary can say has any effect, and they all vanish, leaving "not a wrack behind," except, a slate pencil Julia has dropped in her excitement.

Sir Lyon (after hearing the news). Shameful! Never again will I have a Ghost in this house. This is what comes of treating them as equals! I'll—I'll—I'll write to the Psychical Society!

> [Scene closes as all the guests crowd round him and ask him to drink the health of Modern Fiction and—The New Year.

### MAY AND DECEMBER.

[Brighton is now represented by two of the youngest members in the House.... Mr. Gladstone intends to spend Christmas at Brighton.]

Just now, when the weather seems May in December,

They've sent up from Brighton another young member,

Two juvenile gentlemen sit for the town,

Their ages united just two-thirds would be

Of that of the statesman who often goes down

To seek renewed youth by the murmuring sea—

Mr. G.

Two Tories—meek May fighting sturdy December

Their foe is an old hand these lads should remember.

They'll probably sit most judiciously dumb,

Or only object like the murmuring sea.

To the House, sent from Brighton, the youngest have come;

From the House, down at Brighton, the oldest will be—

Mr. G.

### A SEASONABLE VADE MECUM.

#### (By Ker Mudgeon, Senior.)

- Question. What is the most satisfactory motto for Christmas?
- Answer. That it "comes but once a year."
- Q. Then it is as well to take a gloomy view of the season?
- A. That is the only reasonable aspect in the face of a pile of "Christmas bills."
- Q. What are Christmas cards?
- A. Advertisements of existence sent to enemies as well as friends.
- Q. What is a plum pudding?
- A. Indigestion in the concrete.
- Q. And a mince pie?
- A. An excuse for a glass of brandy or a glass of any other equally potent liquid.
- Q. Does old-fashioned English Christmas fare benefit anyone?
- A. Yes; doctors and chemists.
- Q. Why does an elderly person go the pantomime?
- A. Because he likes it just as much as a schoolboy.
- Q. What reason does he give for his visits to Drury Lane, the Lyceum, or the Crystal Palace?
- A. That he visits those places of entertainment for the sake of the children.
- Q. But if he is an old bachelor?
- A. He declares that he likes to see the delight of other people's children.
- Q. What is the spécialité of a Christmas family party?
- A. Row all round.
- Q. What are the regulation wishes of Yule-tide?
- A. A Happy Christmas and a Prosperous New Year.
- Q. And the probable result?
- A. The attainment of neither.

Crossed in Love.—A wedding-present cheque.

### FINAL ORDERS.

Keeper (to Boy out for his first day's driving). "Mind and Spread yerself out!"

## OUR BOOKING-OFFICE.

"Sir," said a wisely deferential friend of the Baron's, approaching the Baronial arm-chair wherein sat His Super-Excellency regaling himself in truly Regal-Cole-ian fashion, "Sir, I present to your notice a book entitled In Search of a Climate." "With such a title," quoth the Baron, in poetic humour, "it should have been dedicated to His Grace of Canterbury. Would not this distich well favour the title-page? Listen:—

"'In Search of a Climate,' | From Charles B. Nottage,
This to the Primate! | Who lives in a cottage."

"W. A.," or "The Wisely Appreciative," went into wisely appreciative ecstasies. "Baron," he presently resumed, "you will be graciously pleased to read it." "I will recline on my sofa," returned the Baron, "and, in that position, do my level best." So saying, His Super-Excellency suited the action to the word, and, waving his hand in token that he was not to be disturbed for the space of some forty winks or more, he bent his head in silent study o'er the somewhat bulky volume. "One of the most interesting and instructive chapters in this excellently elaborated book of reference," said the Baron, some time afterwards—"a book full of 'wise saws and modern instances'—is that headed 'Religion and Rum,' whence it appears that, whatever form of worship the Natives from time to time might adopt, it always included the cult of spirits in some form or other. The title of this chapter," observed the Baron, judicially, "instead of 'Religion and Rum,' should rather have been 'Rum Religions, or Spirituous Influences.' Towards the close of the book the author still seems to be In Search of a Climate. But what sort of a climate does he seek? One to suit everybody? Why, like the distinguished individual who was 'terribly disappointed with the Atlantic,' there are people, quoted as testimony above proof by Mr. Nottage, of the Cottage, who were 'all terribly disappointed with the climate of Santa Barbara and Los Angeles.' Well, then," quoth the Baron, "try Margate and Ramsgate." The book, attractively got up, is published by the firm whose name always recalls to the Baron's verse-atile mind that delightful poem set to dulcet music yclept "Soft and Low, Soft and Low," only that the names are Samp-son Low, Low & Co., which, set to the same strain, will "do as well." "And," quoth the Baron, suddenly inspired, "what a series of songs for Publishers and Bookbinders might be written! For example, 'My Mother bids me bind my books!' 'I am inter-leaving thee in sorrow.' Cum multis aliis suggestionibus! But this is délassement. Let our toast be, 'Our noble Shelves!'—'our noble Book-shelves!'" explains the Baron, gaily; and so back to the Brown Study where, as Baron Brown Beard, he disposes of the various heads in his department, and signs himself, The Just and Generous Baron de Book-Worms.

Mrs. Ram says no wonder people are blown out at Christmas, as they do fill themselves with so many "combustibles."

[pg 306]

## "SCENES OF CLERICAL LIFE."

(A Meeting of the Church of England Temperance Society. The Vote of Thanks to the Chairman.)

"And, Ladies and Gentlemen, let me point out to you, in these days where the activity of the Church is so often called into question, that our revered Diocesan could never be called an 'Ornamental Bishop'!"

## "THE SPIRIT OF CHRISTMAS PRESENT."

(Passages from a Political "Christmas Carol" of the Period descriptive of a slumbering Stateman's Yule-Tide Dream.)

Awaking in the middle of a prodigiously sonorous snore, and sitting up on what seemed to be a nightmare-like blend of the Treasury Bench and his own bed, to get his thoughts together, Sadstone (like Scrooge) had no occasion to be told that Big Ben was again upon the stroke of Twelve.

Now, being prepared for almost anything—from J-ss-e C-ll-ngs to a Vote of Censure—he was not by any means prepared for Nothing! Consequently, when the bell boomed its twelfth stroke, and nothing appeared, or happened—not even a nightmare in the shape of T-mmy B-wl-s, or a Motion for Adjournment—he was taken with a fit of the shivers.

At last he began to think that the source and centre of the ghostly light which seemed to gleam on him from nowhere in particular, might be in the adjoining room, his own private Downing Street sanctum. Thence indeed, on further tracing it, it seemed to shine. This idea taking full possession of his mind, he got up softly, and shuffled in his slippers to the door.

The moment Sadstone's hand was on the lock, a strange voice called him by his name, and bade him enter. He obeyed.

It was his own room. There was no doubt about that. But it had undergone a surprising transformation. The walls and ceiling were so hung with shamrock green and shillelagh branches that it looked a perfect Grove of Blarney. A lurid blaze, like a blue-tongued snapdragon flare, went hissing up the chimney, revealing in weird glimpses on the heated hearth and chimney tiles spectral figures of impish design and menacing gesture. Heaped up on the floor, to form a kind of throne, were Blue Books, abortive Bills, scrolls on which were inscribed endless questions and unnumbered amendments; bundles of party papers and political pamphlets; pallid sucking-pigs that seemed to demand rather opportune interment than human digestion; long wreaths of sausage-like shackles; resurrection pies of indigestible crust and full of offal scraps and tainted "block ornaments"; pudding-shaped bombs; barrels of explosives and fulminants; red hot (political) "chestnuts" of the most hackneyed partisan sort; Dead-Sea apples of the dustiest kind, savouring of sand and strife; fiery looking Ulster oranges; belated (parliamentary) pairs, and seething bowls of raw and vitriolic party spirit, that made the chamber dim, dank, and malodorous with their heady steam. In uneasy state upon this extraordinary conglomerate couch or throne, there sat an ogreish giant of pantomimic size and bogeyishly menacing expression, portentous to see; who bore a smokily-flaring torch, in shape not unlike an Anarch's beacon or Fury's bale-fire, and held it up, high up, to shed its lurid light on Sadstone, as he came peeping round the door.

"Come in!" exclaimed the Ghoul-Ghost. "Come in, and know me better, (G. O.) Man!"

Sadstone entered timidly, and hung his head before the Spirit. He was hardly the dogged Sadstone he had been, and the Spirit's eyes were so glowering and ungenial, he did not like to meet them.

"I am the Spirit of Christmas Present," said the apparition. "Look upon me!"

Sadstone sorrowfully did so. It was clothed in one simple emerald-green robe or mantle, bordered with buff fur of the dull tint dear to the old Scotch Whig. This garment hung so loosely on the figure that its capacious breast was bare, as if disdaining to be warded or concealed by any artifice. On its head it wore no other covering than a wreath of shamrock, set here and there with a thistle. Its dull black curls were long and elf-like and weird; weird as its frowning face, its staring eye, its clenched hand, its raucous voice, its despotic demeanour, and its gloomy air. Girded round its middle was an antique scabbard, holding a huge two-handed sword; the blade, ready to leap from its sheath, seemed a most unsuitable and unseasonable adjunct to what mankind has been wont to regard as the gentle and genial Spirit of Peace and Goodwill.

"You have never seen the like of Me before!" exclaimed the Spirit.

"Ne-e-ver!" Sadstone made answer to it, in accents stammering somewhat, yet most emphatic.

[pg 307]

# THE SPIRIT OF CHRISTMAS PRESENT.

#### (Suggested by John Leech's Picture.)

### "COME IN, AND KNOW ME BETTER, (G. O.) MAN!"

[pg 308]
[pg 309]

DISTORTED MERCY.

is New Year's Eve. In a comfortable arm-chair by the fire sits the Metropolitan Magistrate. He smiles in self-complacency. He speaks:—

This year I have most faithfully fulfilled my duty; the spirit of sweet leniency has marked my every sentence—at least toward the more flagitious and inhuman offender. Thus have I, in place of punishing, won over to more virtuous ways; so may I doze the cheerful, self-admiring doze of virtue.

> [He dozes. Gathering from the comfortable reflections of the fire and lamp thrown from the polished furniture, a radiant form shapes itself at his elbow. The Magistrate smiles in his sleep, in great content.

The Metropolitan Magistrate. Who art thou, visitant?

The Form. I am the Spirit of thy Leniency. I come to show thee how fair and flattering a result thy milder sentences—to wit, those passed upon the more outrageous culprits—have yielded. See! (Waves a wand.) This is he who came before thy judgment seat for—after repeated warning—selling milk from premises teeming with scarlet fever. Thou didst say, "It is the grossest, and most shocking case of brutal disregard for human life I ever heard!" and thereupon didst fine him half-a-crown—the minimum penalty.

M. Mag. (with affectionate interest). And since? How farest now, thou naughty one?

Milk Criminal. O most blessed Magistrate and sweet Your Worship, I fare most happily; for, most comfortably encouraged by your gracious leniency, I did redouble—nay, multiply an hundred times—mine efforts to disseminate disease; so that I may, without undue boasting, claim to be father of an epidemic that felled its hundreds. And further, in the doing of this I have heaped up a most goodly pile of gold. Give me your blessing, most sympathetic Your Worship!

M. Mag. (recoiling). Nay; mine intentions looked not toward so dire result! I cannot bless——

The Spirit. How, good Stipendiary? Dost thou now disown me, thine own Spirit? Thou must surely bless thy protégé, him who but carries out thy methods to their logical result! And see, I summon others of thy choice; this good butcher who hath sent unwholesome meat to London to feed the poor. Thou didst say of him, "A most inhuman, ill-conditioned knave and rascal; a constructive homicide! I will not imprison him, but fine him seven shillings." And again, see this good rough who kicked a constable nearly to death; thou saidst of him, "A miscreant unfit to live. A savage worse than any tiger! One shilling fine." Then finding he could not pay without foregoing his accustomed gin, thy heart relented, and thou didst discharge him. Then again, here have we this fair hawker who kicked his donkey's legs and so belaboured him with cudgels that he left no bone unbroken; thou saidst of him, "An act more horrible and sickening could scarce be perpetrated by a fiend!" Then, with a gentle caution, thou didst set him free.

M. Mag. But tell me, prithee, what the outcome was of these my leniences. Did results not justify——?

The Butcher. Oh, yes, indeed, in my case! Taking courage, seeing that justice was so linked with mercy, I did extend most energetically my little venture in unwholesome meat, and now am rich, and have been made a lord.

The Rough. And since your clemency, O sweet your Worship, I've kicked to death some dozens of assorted victims—policemen, girls, and infants.

The Hawker. And I——

M. Mag. (writhing). Oh, peace, and spare me! Get ye gone!

The Criminals. What? This is passing strange! You will not bless the work yourself have fostered?

M. Mag. (tearing his hair). I fostered? I, the gentle magistrate, the soul of clemency——?

The Spirit. Come, bless thy chosen clients!

> [With a shriek the Metropolitan Magistrate awakes from his doze. He is haggard; his eye is bloodshot with horror. He speaks, shuddering:—

What are these hideous crimes that I have done, mistaking them for mercy? How unworthy am I to touch so sweet an attribute, distorting and most basely turning it from its appointed course! There chime the bells. Let them proclaim how, in the coming year they usher in, I will essay to win this fair, sweet attribute entrusted to me, and so misshapen by my cruelties, back to her rightful form! I will begin by showing mercy unto Mercy's self.

### A STUDY IN BROWN.

I've caught you, hazel-eyed brunette, day-dreaming, chin on hand!

Don't think, now, that my stolen sketch is bold and contraband!

Nay, rather, 'tis the duty that's imposed on ev'ry beauty,

To grant that with respectful glance her profile may be scanned.

To picture such a wealth of brown would Vandyck's self delight;

Brown eyes I see, and waving hair, brown as a summer night.

I cannot do you justice, but this thumb-nail sketch, I trust, is

A deep brown-study rendered into simple black and white.

In reverie reflective, has your wayward fancy strayed,

It may be, to last summer's tryst in some wild English glade,

Or old-world forest-garden, where, like Rosalind in Arden,

Your troth you plighted, or, love-lorn, outmourned the Nut-brown Maid?

You're wand'ring in Mahatma-land, and counting astral sheep?

And gathering wool that never grew, a Brownie-led Bo-peep,

Or, possibly, pursuant of an Ego playing truant.

And lost amid the labyrinth of dim hypnotic sleep?

For all I know, you're musing in this meditative trance

On modern and sublunar joys, as dinner, dress, and dance!

Or is it toothache merely that—well, makes you stare so queerly?

(Somehow I ne'er can draw the line 'twixt bathos and romance!)

If thus I seem inquisitive, don't kill me with a frown!

Though times are hard, in vulgar phrase, I'll plank my money down!

Your train of thought to share (if you'll accept a penny-tariff),

I tender, with my compliments, the coin that's called a "brown"!

### PRODIGIOUS!

To MR. Punch,—Sir,—I appeal to you. Ought scientific papers to be allowed to publish incitements to bloodshed and anarchy? I have just read in one an enthusiastic commendation of "an agitator working at 280 revolutions per minute." This agitator is, it appears, closely connected with an "annihilator." It is true that the annihilator is a smoke-annihilator, and the agitator is part of its machinery; but who knows what influence may be exerted upon weak minds at such a time as this by the use of these awful terms? Is the Home Secretary asleep?

Yours,

A Patriot.

Mysterious.—In Sala's Journal for December 13 the advertisement of the Christmas Number announces that "arrangements have been made for publishing the Portraits of the Contributors at the commencement of their respective articles. This, it is believed, will prove a very interesting feature." No doubt. But which "feature," and whose "feature," and to which contributor will "the very interesting feature" in the portrait belong? They cannot surely have only one feature among them! Among the special contributors, each of course with distinctive features, are Sir Augustus Harris, Mr. Sutherland Edwards, Mr. Arthur à Beckett, and Mr. Davenport Adams. Excellent company each, with most interesting features. But which feature is to be taken as representing the lot? "Nose?" Well, there's point in that. "Cheek?" Ahem! Will it be "All their eye?" Evidently the only way of satisfying curiosity is to purchase a copy of S. J.'s Christmas Number.

Seasonable Riddle.—When does a turkey look a goose?—When quite by himself he has to face a party of twenty-four.

[pg 310]

### INHUMAN.

Sportsman (who has caught Brown's mare). "Now then! this Way out, Sir, this Way out!" Brown (who has already swallowed about a quart of mud and water). "B—b—but it's deep!" Sportsman (impatient). "Confound it, Man! do you expect me to fetch a Boat?"

## CHRISTMAS HAMPERS.

- For the Czar.—Alliances—French and Triple.
- For the Kaiser.—"The Great Revenge."
- For the King of Italy.—The Military Estimates.
- For the King of Greece.—The Adjustment of the National Revenue.
- For the President of the French Republic.—The Legacy of Carnot the First.
- For the President of the United States.—Protected Free Trade.
- For the Sultan.—The Khedive.
- For the Khedive.—The Sultan.
- For the Premier.—His followers.
- For the Foreign Secretary.—His colleagues.
- For the Chancellor of the Exchequer.—The coming Budget.
- For the Home Secretary.—Trafalgar Square.
- For the Colonial Secretary.—South Africa.
- For the Postmaster-General.—Cards for Christmas and the New Year.
- For the War Office.—The Admiralty.
- For the Admiralty.—The War Office.
- For the Theatre-Managers.—The Clerk of the Weather.
- For the Music-Hall Proprietors.—The London County Council.
- For the London Public.—The Paving Contractors.
- For the Bar.—The Solicitors.
- For the Solicitors.—Reluctant Litigants.
- For the Stockbrokers.—The State of the City.
- For the Poor.—The Condition of the Money Market.
- And for the World in general and Britons in particular.—The Influenza.

### THE KISS THAT COSTS.

> [A fair plaintiff, who brought a breach of promise action worth under ordinary circumstances at least £1000, had to be content with £100 because she had in the meantime been kissed by a new suitor.]

The gorse is out in kissing time,

And that is always—so the saw.

But know from henceforth (and this rhyme)

This does not follow in the Law.

For she, who, jilted by her swain,

Brings him to Court, and braves the laughter,

Must—if she longs for gold—refrain

From kissing Number Two—till after!

### A Little Girl's Christmas Story.

Polly! | Folly!
Holly! | (Gobbles!)
Jolly! | Colly
Dolly! | (Wobbles!)

OUR BARTERERS.—Sideboard.—I have a magnificent-looking article, made of unseasoned deal, coloured to resemble walnut. As great care has been taken to imitate a really first-class piece of furniture by a good maker, it is hoped that the fact that the wood is certain to split and warp, that the drawers jam, that the keyholes are dummies, and that the whole is a piece of cunning shoddy, will escape the attention of the average purchasing idiot. What offers?

To Pickwickian Students.—Of what class of persons is it recorded in Pickwick that "their looks are not prepossessing and their manners are peculiar"?

### THE CRY OF THE CIVIC TURTLE.

'Twas the voice of the Turtle, I heard him complain,

"You would wake me! Be off!! Let me slumber again!

Your 'Royal Commission on Unification'

Be ——!" something that seemed to convey commination.

"I shan't 'tender evidence'—hang it, not I!—

Why I, as a separate body, should die!

I've power, prosperity, plumpness, and pelf;

If you want an 'Amalgam'—why, mix it yourself!"

### Feminine Saturnalia.

[Miss Klumpke has just achieved a great triumph with a learned treatise on the Rings of Saturn.]

Oh! maiden, learned, wise, you can

To froward woman prove a pattern,

You pay your due respect to Man

By writing up the Rings—of Saturn!

New Prandial Proverbs.—What's underdone can't be helped. A bird in a pie is worth two in a dish. Apollinaris (or any other) water in time saves wine. The early guest gets it hot. It is never too late to dine.

A TRUTH IN SEASON.—What would Christmas be without the Cracker? Messrs. G. Sparagnapane have their reply ready with their "Cracker Skirt-Dancer" and their "May Blossom" (so nice in December), which is a pleasant souvenir of The Wedding. Of course, all these crackers will "go off" well!

[pg 311]

Adapted, | 64
Ad Fratrem, | 3
Adventures of Picklock Holes (The), | 69, 76, 85, 100, 168, 213, 289, 301
Advertiser's Appeal, | 270
Afternoon Party (An), | 13
"After the Ball" in Paris, | 297
After the Call, | 243
Alexander and Diogenes, | 162
Anacreontics for All, | 273
Angels, | 186
Another Scene at the Play, | 64
Argentina, | 226
Arriet on Labour, | 88
"Art of 'Savoy Fare'" (The), | 204
At Covent Garden last Thursday, | 37
At the Sea-Side Church Parade, | 73
At the Shaftesbury, | 123
At the World's Water-Show, | 40
Australian A B C (An), | 57
Australia the (without) Golden, | 94
Babes on the Treasury Bench (The), | 255
Balfour's Boon, | 101
Ballad (A), | 262
"Ballade Joyeuse," | 106
Ballade of Earlscourt, | 57
Ballade of Lost Repartees, | 142
Ballad of Departed Pippins (The), | 41
Ball versus Ball, | 297
Bank Holiday Beauty, | 292
Behemoth and the Lion, | 182
Belfry of Bruges Overlooked (The), | 274
Bicycle built for Two (A), | 258
Birds of Pray, | 219
Bishop Bobadil, | 166
Bitter Cry of the Broken-Voiced Chorister, | 37
Black Shadow (The), | 210
Blue Belles of Scotland (The), | 298
Bobo, | 178
Bogus Manager's Vade Mecum (The), | 237
"Book that Failed" (The), | 123
Brick-à-Brac, | 195
Bright and Beautiful Working Man, | 192
British Athletes Vade Mecum (The), | 82
Brown Study in Autumn Tints (A), | 109
Burden of Burdon Sanderson, | 142
Business, | 246
"But that's another Story," | 225
Cabman's Guide to Politeness, | 209, 225
Carr-Actors at "The Comedy," | 185
Cause and Effect, | 245
Central Hall of the Law Courts (The), | 217
Champion Shaver (The), | 282
Chance for the Briefless (A), | 274
Change of Partners (A), | 279
Christmas Hampers, | 310
City Horse (The), | 190
Closure at Home (The), | 61
Coal and Wood, | 257
Cockney on a Great Collection (A), | 252
Connected with the Press, | 77
Conversation-Book for Candidates, | 258
Conversion à la Mode, | 121
Cophetua, L.C.C., | 113
County Council's Progressive Programme (The), | 300
Cream of the Cream, | 219
Cricket across the Channel, | 61
Cricket Congratulations, | 70
Croquet, | 87
Crowning the Edifice, | 153
Cry of the Civic Turtle (The), | 310
Cure-ious! | 99
Daly Dream (A), | 180
Damon out of Date, | 205
Dance till Dawn, | 16
Danger! | 85
Dark Continent in Two Lights (The), | 226
Decayed Industry (A), | 82
Deptford hath its Darling, | 273
"Devil's Advocate" (The), | 51
Diary à la Russe (A), | 193
Directors' Vade Mecum (The), | 49
Distorted Mercy, | 309
Ditty of the Dog-Days (A), | 17
Diver (The), | 98
Double Entente, | 228
Drama College, | 192
Dr. Dulcamara Up to Date, | 218
Dream-Book for Would-be Travellers, | 65
Ducal Doings, | 292
"Due South," | 137, 145, 157, 169
Effeminacy of the Age, | 97
1893; or, the Government Guillotine, | 2
Englishman in Paris (The), | 77
Essence of Parliament, | 11, 22, 34, 46, 58, 70, 82, 94, 106, 118, 130, 142, 154, 226, 238, 250, 262, 274, 286, 298, 302
European Crisis Averted! | 273
Examination Paper for Ladies, | 45
Expostulation (An), | 216
Fabius Fin-de-Siècle, | 225
Fallen Art (A), | 25
"Fantastic" Action (A), | 192
Farewell! | 190
Fashionable Intelligence, | 51
Father William, | 18
Feminine Triumph (A), | 277
"Flibbertigibbet," | 261
Fool with a Gun (The), | 159
"Forlorn Hope" (The), | 150
Fragments from a Franco-Russian Phrase-Book, | 197
French Flag (The), | 228
French Wolf and the Siamese Lamb (The), | 54
From Colchester, | 111
From Grave to Gay, | 89
From Our Island Special, | 58
From Professor Muddle, | 34
Future of Home Rule (The), | 245
Game of Chance (A), | 285
Gingham-Grabber (The), | 237
Going to the Country, | 120
Golden Memories, | 141
Good Luck to it! | 253
"Good Sir John!", | 166
Great African Lion-Tamer (The), | 230
Handy Boy (The), | 246
"Hark! I hear the Sound of Coaches!", | 255
Haunted! | 101
Health-Seeker's Vade Mecum (The), | 1
Height of Comfort (The), | 241
"Here's to the Client," | 63
Her Sailor Hat, | 101
Highland "Caddie," | 122
Highly Probable, | 282
"History (nearly) repeats itself," | 261
History Repeats Itself, | 154
Home Rails, | 243
How to Write a Cheap Christmas Number, | 265
"Hymen Hymenæe!" | 6
Ideal Conversation (The), | 159
Ideal Drama (The), | 202
In Black and White, | 225
Inquiry (An), | 233
Intelligence à l'Americaine, | 10
John Bull's Naval Vade Mecum, | 118
John Tyndall, | 277
Jolly Young Watermaids (The), | 156
Just Cause, | 25
Kiss that Costs (The), | 310
Latest Autumn Fashion (The), | 228
Latest Crisis (The), | 61
Latest Parisian Romance (The), | 33
Law and Justice v. Duty "done," | 286
Lawyer's Chortle (A), | 205
Lay of the "Ancient" (The), | 101
Lays of Modern Home, | 33
Lesson for Labour (A), | 138
Letter Home (A), | 183
Letters for the Silly Season, | 111
Letters to Abstractions, | 97
Life (and Death) in South America, | 158
Lines on (and off) an Italian Mule, | 141
Little Bill-ee, | 114
Little Master Minority, | 198
Little Old Woman who Lived in a Shoe, | 86
Lobengula's Letter-Bag, | 257
London Pest (A), | 25
London School-Board Vade Mecum (The), | 165
Lord Chancellor's Song (The), | 289
Lost Smell (The), | 274
Love and Law, | 142
Love's Labour's Lost, | 86
"L'Union fait la—Farce!", | 186
Magic and Manufactures, | 245
Making them Useful, | 90
Man in the South (The), | 129
Man Makes the Tailor (The), | 53
March in November, | 234
"Masterly Inactivity," | 174
Mature Charms, | 261
May and December, | 305
Meeting of the Anti-Biographers, | 105
Message from the Sea (A), | 294
Misnomer, | 228
Misty Crystal (A), | 214
Moan of a Theatre-Manager (The), | 41
Moan of the Minor Poet (The), | 42
Modern Medusa (The), | 270
Modern Nymph's Reply to the Passionate Shepherd (The), | 16
Mot by a Member, | 222
Mr. Punch's Appeal—to Coal-Owners, Miners, and all whom it may Concern, | 170
Mrs. Nickleby in the Chair, | 30
Murch Praised, | 277
Muscular Education, | 37
Music and Law, | 293
Music for the Multitude, | 49
"My Cummerbund," | 153
My Gardeneress, | 93
My Landlord, | 193
My Pretty June, at a Later Season, | 189
Mystified, | 216
My Tenant, | 193
Name! Name! | 226
Names for Other Names, | 174
Nautical Economy, | 285
N.B.! | 214
New King Coal, | 74
New King Coal Corrected, | 118
New Lights for Old, | 273
New Version, | 273
New Year's Eve at Latterday Hall, | 304
Ninth of November (The), | 238
Noble Organ-grinder (The), | 217
No Raison d'être! | 216
Not a Fair Exchange, | 177
Note by our own Philosopher, | 207
Novel Show (A), | 121
"Oberland" Route (The), | 221
Ode de Knill—and Co., | 25
Ode of Odours (An), | 292
Old "Adelphi Triumph" (An), | 117
Old and New School for Scandal, | 249
Old Man's Musings (An), | 10
One of the Maxims of Civilisation, | 261
"One-Horse" Householder, | 89
1,000,000 A.D., | 250
Only Fancy! | 93
Operatic Notes, | 5, 17
Ornithological Outburst (An), | 257
Orator "Pour Rire" (An), | 21
Our Barterers, | 294, 310
Our Booking-Office, | 9, 52, 154, 198, 209, 237, 249, 253, 265, 285, 293, 305
Our Opera, | 25
"Over the Hills and Far Away!", | 126
"Painless Dentistry," | 133
Palinode, | 258
"Paper of the Day after To-morrow" (The), | 229
"Pas Même Académecien!" | 162
"Pictures from 'Punch,'" | 177
"Piece and War!" at Drury Lane, | 149
Playing the Deuce at the Haymarket, | 161
"Play is not the Thing" (The), | 22
Plea for Pleading's (A), | 277
Poison in the Pump, | 281
Police Phrase-Book (The), | 16
Politics in South America, | 125
Popular Songs re-sung, | 73, 241
Precept and Practice, | 213
Preparing for Christmas, | 226
Prince Alexander of Battenberg, | 253
Profession of Journalism (The), | 222
Prophetic Diary of the L. C. C., | 16
Proprietors' Vade Mecum (The), | 46
Punch's "God-Speed" to the Pole Seekers, | 22
Q. E. D., | 238
Queer Cards, | 246
Queer English, | 34
Queer Queries, | 36, 37, 135, 240
Question of Tint (A), | 217
"Quiet Pipe" (A), | 122
Quoth Dunraven, Nevermore! | 192
Rather Familiar! | 255
"Ready, Aye Ready!", | 110
Reign of Ringlets (The), | 158
Repartees for the Railway, | 202
"Resh'prosh'ty," | 222
Rex Lobengula, | 243
Rhodes to ——? | 225
Riflemen—"Form!" | 165
Rippin', | 171
Robert at Gildhall, | 75
[pg 312]Robert at the Manshun House, | 17
Robert on the Coming Sho, | 221
Robert's Puzzel, | 261
Rosebery to the Rescue! | 15
"Rule, Britannia!", | 234
Rule of the Sea (The), | 57
Rules of the Rude (The), | 177
"Sail! a Sail!" (A), | 78
Saint Izaak and his Votaries, | 62
Schopenhauer Ballads (The), | 57, 77
Seasonable, | 37, 234
Seasonable Reflection, | 297
Seasonable Sayings, | 298
Seasonable Sonnet, | 277
Seasonable Vade Mecum (A), | 305
Seeing the Royal Wedding Presents, | 28
Self-Help, | 205
Sax Scotch Pipers (The), | 195
Shakspeare in London, | 264
Shooting the Chutes, | 73
"Single-Handed Run" (A), | 267
Sir Aquarius to the Rescue! | 146
Skinners and Skinned, | 5
"Social Test-Words," | 121
Song of the Autumn Session (The), | 217
Song of the Session (The), | 3
Song of the Shopkeeper (The), | 29
Sonnet, | 111
Spirit of Christmas Present (The), | 306
Star-Gazing, | 183
Still Wilder Ideas, | 94
Stormy Petrel (The), | 66
Stout Singer's Smile (The), | 286
Striker's Vade Mecum (The), | 121
Strike-ing Suggestion (A), | 228
Study in Brown (A), | 309
Study in Press-Land (A), | 149
Sub Judice, | 3
Surgeon-Major Parke, | 138
Sympathy, | 42
Tale of the Alhambra (A), | 9
Tea and Twaddle, | 106
"Tears, idle Tears!", | 264
Testimonial Manqué (A), | 4
Then and Now, | 157
Three Georges (The), | 3
Three Jovial Huntsmen (The), | 134
Three Tartars (The), | 141
Three V's (The), | 210
Through the Lock, | 42
To a Droshky-Driver, | 41
To a Fine Woman, | 66
To a Lady, | 253
To a Lost Friend, | 201
To a Parisienne, | 53
To a Swiss Barometer, | 64
To a Young Friend, aged Seven, | 189
To Bobby, | 297
To Doctor Falbe, | 141
To "Hans Breitmann," | 192
To Hebe, | 229
To Marjorie, | 273
Too Kind by Half, | 39
To the French Oarsmen, | 5
To the Sea, | 229
Tour that never was (The), | 75
Triolet, | 269
Trip-lets, | 277
True French Politeness, | 114
Trumps for Tramps, | 87
Trying her Strength, | 102
Turkish Occupation; or, Visions in Smoke (A), | 26
Turpin and Trains, | 147
Timon on Bimetallism, | 65
"'Twas in Trafalgar"'s Theatre, | 293
Two Pots, The, | 75
Two Views of Victory, | 233
Tyranny of the Unsuitable (The), | 269
Ulsterical Impromptu (An), | 228
Under the Rose, | 112, 124, 136, 148, 160, 172, 184, 196, 208, 220, 232, 244, 256, 268, 280
Under the Roose, | 1
Union is (Logical) Weakness, | 221
University Intelligence, | 277
Upon Julia's Mother, | 190
"Usual Channel," (The), | 90
"Variety! Va-ri-e-ty!", | 279
Vision of Royalty (A), | 27
Visit to Borderland (A), | 52
"Voces Stellarum," | 48
Voice of the Thames (The), | 45
Volunteers' Vade Mecum (The), | 29
Walk in Devon (A), | 202, 214
Walking Englishwoman on the Alps, | 77
War in South America (The), | 181
Way they have in the City (A), | 53
"Way they have in the Navy" (The), | 41
Wear and Tear in Africa, | 9
Weather Wisdom, | 269
Were-Wolf (The), | 290
Westminster Play (The), | 293
What's in a Name? | 33
When the "Cat"'s Away, | 206
Who is it? | 93
Why Elinor is ever Young, | 57
Windy Corner at Brighton (A), | 297
"Wonder-Kid" (A), | 269
Woodman, spare those Trees! | 166
Words! Words! Words! | 102
Word to the Wise Wheelman (A), | 219
Yorkshire Victor, | 113
You never Wrote, | 231
#### LARGE ENGRAVINGS.
Alexander and Diogenes, | 163
"Bicycle built for Two" (A), | 259
Black Shadow (The), | 211
"Champion Shaver" (The), | 283
"Father William," | 19
"Forlorn Hope" (The), | 151
French Wolf and the Siamese Lamb (The), | 55
Handy Boy (The), | 247
"Hymen Hymenæe!" | 7
Lesson for "Labour" (A), | 139
Little Bill-ee! | 115
Little Master Minority, | 199
"L'Union fait la—Farce!" | 187
"Masterly Inactivity," | 175
"Message from the Sea" (A), | 295
Modern Medusa (The), | 271
Mrs. Nickleby in the Chair, | 31
"Over the Hills and Far Away!" | 127
Poor Victim (The), | 91
"Resh'prosh'ty," | 223
"Rule, Britannia!" | 235
"Sail! a Sail!" (A), | 79
Spirit of Christmas Present (The), | 307
Stormy Petrel (The), | 67
"Through the Lock," | 43
Trying her Strength, | 103
### SMALL ENGRAVINGS.
Agatha and the Wall-paper, | 106
"Angels in the House," | 47
Apple Woman on Lady Salisbury, | 171
'Arry and Foreign Traveller, | 12
Authority on the "Buffer State" (An), | 64
Bachelor's Reason for Dancing, | 29
Baked-Potato Man on the Sands, | 166
Balfour and Treasury Babes, | 254
Bather trying to regain his Tent, | 109
Beater and the Serdlitz Pooder, | 257
Bertie "catches a Crab," | 51
British Lion and Matabele Behemoth (The), | 182
Brown getting out of Stream, | 310
Brown helping himself to everything, | 138
Brown's Corporation and its Cause, | 22
Bulky Bride leaving her Parents, | 270
Cabby and Clergyman, | 168
Canon's Introduction to a Lady, | 210
Chiffonniers on Hampstead Heath, | 114
Cleveland's Dance with Free Trade, | 278
"Committee Stage of the Home-Rule Bill," | 59
Complimenting an After-dinner Speaker, | 286
Conjugal Trouble about Christmas Present, | 190
Conscientious Hairdresser (A), | 34
Corpulent Sportsman's Symptoms, | 113
Counsel and Facetious Witness, | 233
County Councillor and Acoustics, | 298
Critic's Two Reviews (A), | 277
"Daily Graphic" Weather Lady, | 153
"Devil's Advocate" (The), | 50
Dining with the Odds and Ends, | 165
Divorce stands Lunch to Bankruptcy, | 297
Doctor Dulcamara and Mr. Punch, | 218
Doomed Bill (The), | 119
"Ears off in Front!" | 121
Electric Light in an Old House, | 302
Eton Boy and Pater's dear Luncheon, | 66
Excited Orchestral Conductor, | 285
Farmer Trencherman and the Curate, | 169
Father Thames Purified, | 95
Festive Babies, | 282
Football Match (A), | 299
Forgotten his Dress Coat, | 25
Friends in Editor's Sanctum, | 58
Gamekeeper and Captain's Language, | 70
Gate-Boy and Hunting Lady, | 207
German Teacher of English (A), | 28
Giant Beetle (The), | 201
Gladstone's "Long Break," | 287
Gladstone the Diver, | 98
Going to Cairo for Cheapness, | 281
Golf Meeting (A), | 191
Government Guillotine (The), | 2
"Happy Family" in Fret-Work (The), | 71
Harrow Scholar in Good Form, | 238
Hawkins and Merton at a Restaurant, | 178
Highland Corporal and Photographer, | 86
His Ancestor's Portrait, | 195
His Sister's Match-Maker, | 82
Holiday Dress in the House, | 83
Hostess of "Present-Day" Age, | 63
Housekeeper and Servants' Sweepstakes, | 229
Housemaid's Translation of "Salve," | 222
House of Apollo-ticians (A), | 143
"House Party" at Christmas, | 303
Icicle made for Two (An), | 197
Improbable Free Fight in the Lords, | 131
Indisposed Yachtsman's Resolutions, | 65
Influenzial House of Commons, | 275
Inspecting General and Yeoman, | 15
Irish Curate and the Doctor, | 75
Izaak Walton and his Votaries, | 62
"Joey" (Chamberlain) and the Hot Poker, | 242
Jones's Delicious Drink, | 253
Jones's visit to Prigglesby Manor, | 90
Laconic 'Bus-Driver (A), | 27
Lady Hypatia and the World at Large, | 258
Lady's Story after the Garden Party, | 16
Lady Vera flattering an Author, | 274
Lika Joko's Hunting Scene, | 263
Little Boy and the Martial Cloak, | 117
Little Old Woman and her Shoe, | 86
Local Hatter and Baronet, | 94
Local Mammoth's Neighbours (The), | 292
Looking at the Knight's Tomb, | 150
Lower Creation (The), | 105, 111
Mamma's Vaccination Sleeves, | 3
Marian not a fit Servant's Name, | 202
Master Bull's Sinking Ships, | 110
Master Jack out for Early Hunting, | 154
Mr. Punch and Coal-Owner and Miner, | 170
Mr. Punch at Edinburgh, | 179
Mr. Sinnick's Love for Babies, | 246
Mrs. Prickles and "Coals of Fire," | 225
Mrs. Ramsbotham and the Graces, | 162
Musicians in the Stalls, | 159
My Lady and Housemaid's Character, | 54
Naughty Boy and his Governess, | 186
Nervous Hunting Man and Lady Rider, | 262
New King Coal, | 74
News from the Law Courts, | 237
Not an Ornamental Bishop, | 306
Old Adonis and his Bust, | 99
Old Gent and Galloping Coach-Team, | 81
Old Huntsman's Law Reading, | 291
Old Keeper and Red-haired Fisher, | 11
"Out for an Otter-Day!" | 189
"Out! Her First Ball!" | 1
Painter and his Hostess, | 78
Papa putting on Mamma's Hair, | 198
Parliamentary Bear-Garden (A), | 35
Parliamentary Football Match, | 266
Parliament by Proxy, | 227
People who don't dine out on Sunday, | 130
Pheasant Shooting, | 203
Philanthropist and Small Boy's Parcel, | 226
Piping Satyr (A), | 122
Podgers and his Host's Shoes, | 147
Police Protection for Pianists, | 217
Portrait of Mr. Mince-Pie, | 301
Priceless Piece of English Coal (A), | 192
Railway Traveller and Dog, | 177
Rhodes, the Lion-Tamer, | 230
Ringlets again the Fashion, | 158
Rivals and the Fair Siamese, | 38
Rosebery to the Rescue! | 14
Scenes in the City, | 239
Scotch Counsel and Old Lady, | 118
Scotchman and the Rector, | 45
Scottish Political Pipers, | 194
Sea-side after Visitors are gone, | 135
Seedy Swell's Watch (A), | 5
Shadows on the Underground Railway, | 181
Shaftesbury Fountain (The), | 181
Shy Couple conversing on the Strike, | 234
Singing Captain and Ladies, | 102
Sir Aquarius and the Water-Snake, | 146
Sir Harry on his Rhinoceros, | 216
Sir Pompey and the French Baron, | 46
Sir Pompey's Acts of Charity, | 30
Sleeping Cat o' Nine Tails, | 206
Small Boy's Dilemma about Hunting, | 267
Smart Set at a Party (A), | 6
Snobley and the Sand Ponies, | 123
Spelling "Soda-water" with a Syphon, | 141
Sporting Farmer and 'Arry at the Hunt, | 231
Sportsman who has made a Mare, | 243
Spreading Himself Out, | 305
Squire and his Steward (A), | 245
Stag-Hunting, | 215
Stout Lady wanting Wings, | 174
Sultan and Khedive Smoking, | 26
Tailor's Lobengulous Customer, | 250
Telephoning Twins (The), | 255
Three Ministerial Huntsmen (The), | 134
Tiger and Bear at the Club, | 173
Tipsy Gent and Baker's Boy, | 53
Tipsy Undergraduate and the Major, | 214
Tommy's Ultimatum to his Nurse, | 18
Tourist Season (The), | 107
Tourist who didn't Shoot Anybody, | 219
Trafalgar Square of the Future, | 251
Two Golfers, | 145
Two Ladies and the Piano, | 42
Two Swells in the Rain, | 193
Two Unknown Painters, | 61
Very Nice to Departing Guests, | 294
Vicar's Cook and a Saved Sole, | 142
Wandering Minstrel and Sea-side Beauties, | 126
Wanting a Table d'Oat Dinner, | 205
Week of the Year (The), | 23
Were-Wolf of Anarchy (The), | 290
Who would be an M.P.? | 155
Who would not be an M.P.? | 167
Young Lady Making "Dinner Eyes," | 39
Young Lady's Jacket Puzzle, | 237
Young Muddleigh's Lady Love, | 279
Young Sportsman and the Bad Shot, | 125
Young Wife and Horse's Weight, | 183
Youthful Reprobate and the World, | 265
Youth who comes Home late (A), | 49

#### LONDON; BRADBURY, AGNEW, & CO., LIMITED, WHITEFRIARS.

#### Transcriber's Note: Page 306: "SANDSTONE" corrected to "SADSTONE", to fit context of article. "... to shed its lurid light on Sadstone, as he came peeping round the door."

    End of the Project Gutenberg EBook of Punch, or the London Charivari, Vol.
    105 December 30, 1893, by Various

    *** END OF THIS PROJECT GUTENBERG EBOOK PUNCH ***

    ***** This file should be named 40636-h.htm or 40636-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/4/0/6/3/40636/

    Produced by Malcolm Farmer, Lesley Halamek and the Online
    Distributed Proofreading Team at http://www.pgdp.net

    Updated editions will replace the previous one--the old editions
    will be renamed.

    Creating the works from public domain print editions means that no
    one owns a United States copyright in these works, so the Foundation
    (and you!) can copy and distribute it in the United States without
    permission and without paying copyright royalties.  Special rules,
    set forth in the General Terms of Use part of this license, apply to
    copying and distributing Project Gutenberg-tm electronic works to
    protect the PROJECT GUTENBERG-tm concept and trademark.  Project
    Gutenberg is a registered trademark, and may not be used if you
    charge for the eBooks, unless you receive specific permission.  If you
    do not charge anything for copies of this eBook, complying with the
    rules is very easy.  You may use this eBook for nearly any purpose
    such as creation of derivative works, reports, performances and
    research.  They may be modified and printed and given away--you may do
    practically ANYTHING with public domain eBooks.  Redistribution is
    subject to the trademark license, especially commercial
    redistribution.

    *** START: FULL LICENSE ***

    THE FULL PROJECT GUTENBERG LICENSE
    PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

    To protect the Project Gutenberg-tm mission of promoting the free
    distribution of electronic works, by using or distributing this work
    (or any other work associated in any way with the phrase "Project
    Gutenberg"), you agree to comply with all the terms of the Full Project
    Gutenberg-tm License available with this file or online at
      www.gutenberg.org/license.

    Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
    electronic works

    1.A.  By reading or using any part of this Project Gutenberg-tm
    electronic work, you indicate that you have read, understand, agree to
    and accept all the terms of this license and intellectual property
    (trademark/copyright) agreement.  If you do not agree to abide by all
    the terms of this agreement, you must cease using and return or destroy
    all copies of Project Gutenberg-tm electronic works in your possession.
    If you paid a fee for obtaining a copy of or access to a Project
    Gutenberg-tm electronic work and you do not agree to be bound by the
    terms of this agreement, you may obtain a refund from the person or
    entity to whom you paid the fee as set forth in paragraph 1.E.8.

    1.B.  "Project Gutenberg" is a registered trademark.  It may only be
    used on or associated in any way with an electronic work by people who
    agree to be bound by the terms of this agreement.  There are a few
    things that you can do with most Project Gutenberg-tm electronic works
    even without complying with the full terms of this agreement.  See
    paragraph 1.C below.  There are a lot of things you can do with Project
    Gutenberg-tm electronic works if you follow the terms of this agreement
    and help preserve free future access to Project Gutenberg-tm electronic
    works.  See paragraph 1.E below.

    1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
    or PGLAF), owns a compilation copyright in the collection of Project
    Gutenberg-tm electronic works.  Nearly all the individual works in the
    collection are in the public domain in the United States.  If an
    individual work is in the public domain in the United States and you are
    located in the United States, we do not claim a right to prevent you from
    copying, distributing, performing, displaying or creating derivative
    works based on the work as long as all references to Project Gutenberg
    are removed.  Of course, we hope that you will support the Project
    Gutenberg-tm mission of promoting free access to electronic works by
    freely sharing Project Gutenberg-tm works in compliance with the terms of
    this agreement for keeping the Project Gutenberg-tm name associated with
    the work.  You can easily comply with the terms of this agreement by
    keeping this work in the same format with its attached full Project
    Gutenberg-tm License when you share it without charge with others.

    1.D.  The copyright laws of the place where you are located also govern
    what you can do with this work.  Copyright laws in most countries are in
    a constant state of change.  If you are outside the United States, check
    the laws of your country in addition to the terms of this agreement
    before downloading, copying, displaying, performing, distributing or
    creating derivative works based on this work or any other Project
    Gutenberg-tm work.  The Foundation makes no representations concerning
    the copyright status of any work in any country outside the United
    States.

    1.E.  Unless you have removed all references to Project Gutenberg:

    1.E.1.  The following sentence, with active links to, or other immediate
    access to, the full Project Gutenberg-tm License must appear prominently
    whenever any copy of a Project Gutenberg-tm work (any work on which the
    phrase "Project Gutenberg" appears, or with which the phrase "Project
    Gutenberg" is associated) is accessed, displayed, performed, viewed,
    copied or distributed:

    This eBook is for the use of anyone anywhere 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

    1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
    from the public domain (does not contain a notice indicating that it is
    posted with permission of the copyright holder), the work can be copied
    and distributed to anyone in the United States without paying any fees
    or charges.  If you are redistributing or providing access to a work
    with the phrase "Project Gutenberg" associated with or appearing on the
    work, you must comply either with the requirements of paragraphs 1.E.1
    through 1.E.7 or obtain permission for the use of the work and the
    Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
    1.E.9.

    1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
    with the permission of the copyright holder, your use and distribution
    must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
    terms imposed by the copyright holder.  Additional terms will be linked
    to the Project Gutenberg-tm License for all works posted with the
    permission of the copyright holder found at the beginning of this work.

    1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
    License terms from this work, or any files containing a part of this
    work or any other work associated with Project Gutenberg-tm.

    1.E.5.  Do not copy, display, perform, distribute or redistribute this
    electronic work, or any part of this electronic work, without
    prominently displaying the sentence set forth in paragraph 1.E.1 with
    active links or immediate access to the full terms of the Project
    Gutenberg-tm License.

    1.E.6.  You may convert to and distribute this work in any binary,
    compressed, marked up, nonproprietary or proprietary form, including any
    word processing or hypertext form.  However, if you provide access to or
    distribute copies of a Project Gutenberg-tm work in a format other than
    "Plain Vanilla ASCII" or other format used in the official version
    posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
    you must, at no additional cost, fee or expense to the user, provide a
    copy, a means of exporting a copy, or a means of obtaining a copy upon
    request, of the work in its original "Plain Vanilla ASCII" or other
    form.  Any alternate format must include the full Project Gutenberg-tm
    License as specified in paragraph 1.E.1.

    1.E.7.  Do not charge a fee for access to, viewing, displaying,
    performing, copying or distributing any Project Gutenberg-tm works
    unless you comply with paragraph 1.E.8 or 1.E.9.

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

    - You pay a royalty fee of 20% of the gross profits you derive from
         the use of Project Gutenberg-tm works calculated using the method
         you already use to calculate your applicable taxes.  The fee is
         owed to the owner of the Project Gutenberg-tm trademark, but he
         has agreed to donate royalties under this paragraph to the
         Project Gutenberg Literary Archive Foundation.  Royalty payments
         must be paid within 60 days following each date on which you
         prepare (or are legally required to prepare) your periodic tax
         returns.  Royalty payments should be clearly marked as such and
         sent to the Project Gutenberg Literary Archive Foundation at the
         address specified in Section 4, "Information about donations to
         the Project Gutenberg Literary Archive Foundation."

    - You provide a full refund of any money paid by a user who notifies
         you in writing (or by e-mail) within 30 days of receipt that s/he
         does not agree to the terms of the full Project Gutenberg-tm
         License.  You must require such a user to return or
         destroy all copies of the works possessed in a physical medium
         and discontinue all use of and all access to other copies of
         Project Gutenberg-tm works.

    - You provide, in accordance with paragraph 1.F.3, a full refund of any
         money paid for a work or a replacement copy, if a defect in the
         electronic work is discovered and reported to you within 90 days
         of receipt of the work.

    - You comply with all other terms of this agreement for free
         distribution of Project Gutenberg-tm works.

    1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
    electronic work or group of works on different terms than are set
    forth in this agreement, you must obtain permission in writing from
    both the Project Gutenberg Literary Archive Foundation and Michael
    Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
    Foundation as set forth in Section 3 below.

    1.F.

    1.F.1.  Project Gutenberg volunteers and employees expend considerable
    effort to identify, do copyright research on, transcribe and proofread
    public domain works in creating the Project Gutenberg-tm
    collection.  Despite these efforts, Project Gutenberg-tm electronic
    works, and the medium on which they may be stored, may contain
    "Defects," such as, but not limited to, incomplete, inaccurate or
    corrupt data, transcription errors, a copyright or other intellectual
    property infringement, a defective or damaged disk or other medium, a
    computer virus, or computer codes that damage or cannot be read by
    your equipment.

    1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
    of Replacement or Refund" described in paragraph 1.F.3, the Project
    Gutenberg Literary Archive Foundation, the owner of the Project
    Gutenberg-tm trademark, and any other party distributing a Project
    Gutenberg-tm electronic work under this agreement, disclaim all
    liability to you for damages, costs and expenses, including legal
    fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
    LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
    PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
    TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
    LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
    INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
    DAMAGE.

    1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
    defect in this electronic work within 90 days of receiving it, you can
    receive a refund of the money (if any) you paid for it by sending a
    written explanation to the person you received the work from.  If you
    received the work on a physical medium, you must return the medium with
    your written explanation.  The person or entity that provided you with
    the defective work may elect to provide a replacement copy in lieu of a
    refund.  If you received the work electronically, the person or entity
    providing it to you may choose to give you a second opportunity to
    receive the work electronically in lieu of a refund.  If the second copy
    is also defective, you may demand a refund in writing without further
    opportunities to fix the problem.

    1.F.4.  Except for the limited right of replacement or refund set forth
    in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
    WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
    WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

    1.F.5.  Some states do not allow disclaimers of certain implied
    warranties or the exclusion or limitation of certain types of damages.
    If any disclaimer or limitation set forth in this agreement violates the
    law of the state applicable to this agreement, the agreement shall be
    interpreted to make the maximum disclaimer or limitation permitted by
    the applicable state law.  The invalidity or unenforceability of any
    provision of this agreement shall not void the remaining provisions.

    1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
    trademark owner, any agent or employee of the Foundation, anyone
    providing copies of Project Gutenberg-tm electronic works in accordance
    with this agreement, and any volunteers associated with the production,
    promotion and distribution of Project Gutenberg-tm electronic works,
    harmless from all liability, costs and expenses, including legal fees,
    that arise directly or indirectly from any of the following which you do
    or cause to occur: (a) distribution of this or any Project Gutenberg-tm
    work, (b) alteration, modification, or additions or deletions to any
    Project Gutenberg-tm work, and (c) any Defect you cause.

    Section  2.  Information about the Mission of Project Gutenberg-tm

    Project Gutenberg-tm is synonymous with the free distribution of
    electronic works in formats readable by the widest variety of computers
    including obsolete, old, middle-aged and new computers.  It exists
    because of the efforts of hundreds of volunteers and donations from
    people in all walks of life.

    Volunteers and financial support to provide volunteers with the
    assistance they need are critical to reaching Project Gutenberg-tm's
    goals and ensuring that the Project Gutenberg-tm collection will
    remain freely available for generations to come.  In 2001, the Project
    Gutenberg Literary Archive Foundation was created to provide a secure
    and permanent future for Project Gutenberg-tm and future generations.
    To learn more about the Project Gutenberg Literary Archive Foundation
    and how your efforts and donations can help, see Sections 3 and 4
    and the Foundation information page at www.gutenberg.org

    Section 3.  Information about the Project Gutenberg Literary Archive
    Foundation

    The Project Gutenberg Literary Archive Foundation is a non profit
    501(c)(3) educational corporation organized under the laws of the
    state of Mississippi and granted tax exempt status by the Internal
    Revenue Service.  The Foundation's EIN or federal tax identification
    number is 64-6221541.  Contributions to the Project Gutenberg
    Literary Archive Foundation are tax deductible to the full extent
    permitted by U.S. federal laws and your state's laws.

    The Foundation's principal office is located at 4557 Melan Dr. S.
    Fairbanks, AK, 99712., but its volunteers and employees are scattered
    throughout numerous locations.  Its 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 web site and official page at www.gutenberg.org/contact

    For additional contact information:
         Dr. Gregory B. Newby
         Chief Executive and Director
         gbnewby@pglaf.org

    Section 4.  Information about Donations to the Project Gutenberg
    Literary Archive Foundation

    Project Gutenberg-tm depends upon and cannot survive without wide
    spread public support and donations to carry out its mission of
    increasing the number of public domain and licensed works that can be
    freely distributed in machine readable form accessible by the widest
    array of equipment including outdated equipment.  Many small donations
    ($1 to $5,000) are particularly important to maintaining tax exempt
    status with the IRS.

    The Foundation is committed to complying with the laws regulating
    charities and charitable donations in all 50 states of the United
    States.  Compliance requirements are not uniform and it takes a
    considerable effort, much paperwork and many fees to meet and keep up
    with these requirements.  We do not solicit donations in locations
    where we have not received written confirmation of compliance.  To
    SEND DONATIONS or determine the status of compliance for any
    particular state visit www.gutenberg.org/donate

    While we cannot and do not solicit contributions from states where we
    have not met the solicitation requirements, we know of no prohibition
    against accepting unsolicited donations from donors in such states who
    approach us with offers to donate.

    International donations are gratefully accepted, but we cannot make
    any statements concerning tax treatment of donations received from
    outside the United States.  U.S. laws alone swamp our small staff.

    Please check the Project Gutenberg Web pages for current donation
    methods and addresses.  Donations are accepted in a number of other
    ways including checks, online payments and credit card donations.
    To donate, please visit:  www.gutenberg.org/donate

    Section 5.  General Information About Project Gutenberg-tm electronic
    works.

    Professor Michael S. Hart was the originator of the Project Gutenberg-tm
    concept of a library of electronic works that could be freely shared
    with anyone.  For forty years, he produced and distributed Project
    Gutenberg-tm eBooks with only a loose network of volunteer support.

    Project Gutenberg-tm eBooks are often created from several printed
    editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility:

         www.gutenberg.org

    This Web site includes information about Project Gutenberg-tm,
    including how to make donations to the Project Gutenberg Literary
    Archive Foundation, how to help produce our new eBooks, and how to
    subscribe to our email newsletter to hear about new eBooks.