The Project Gutenberg eBook of Editorial Wild Oats

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: Editorial Wild Oats

Author: Mark Twain

Release date: October 6, 2006 [eBook #19484]

Language: English

Credits: Produced by Suzan Flanagan and the Online Distributed
Proofreading Team at http://www.pgdp.net (This file was
produced from images generously made available by The
Internet Archive/American Libraries)

*** START OF THE PROJECT GUTENBERG EBOOK EDITORIAL WILD OATS ***

Editorial Wild Oats

BY

Mark Twain

ILLUSTRATED

NEW YORK AND LONDON
HARPER & BROTHERS
PUBLISHERS—MCMV

Copyright, 1875, 1899, 1903, by Samuel L. Clemens.
Copyright, 1879, 1899, by Samuel L. Clemens.
Copyright, 1905, by Harper & Brothers.
All rights reserved.
Published September, 1905.

See p. 57 -- "I FANCIED HE WAS DISPLEASED" See p. 57
"I FANCIED
HE WAS DISPLEASED"

Contents

|    PAGE
My First Literary Venture |    3
Journalism in Tennessee |    11
Nicodemus Dodge—Printer |    30
Mr. Bloke's Item |    41
How I Edited an Agricultural Paper |    52
The Killing of Julius Cæsar "Localized" |    70

Illustrations

"I FANCIED HE WAS DISPLEASED" |  |    Frontispiece
"HE HAD CONCLUDED HE WOULDN'T" | Facing p. |    4
"GILLESPIE HAD CALLED" | " |    24
"WHEEZING THE MUSIC OF 'CAMPTOWN RACES'" | " |    38
"I HAVE READ THIS ABSURD ITEM OVER" | " |    50
"A LONG CADAVEROUS CREATURE" | " |    58
"THERE WAS NOTHING IN THE POCKETS" | " |    82

Transcribers Note: The dialect in this book is transcribed exactly as in the original.

Editorial Wild Oats

My First Literary Venture

I was a very smart child at the age of thirteen—an unusually smart child, I thought at the time. It was then that I did my first newspaper scribbling, and most unexpectedly to me it stirred up a fine sensation in the community. It did, indeed, and I was very proud of it, too. I was a printer's "devil," and a progressive and aspiring one. My uncle had me on his paper (the Weekly Hannibal Journal, two dollars a year, in advance—five hundred subscribers, and they paid in cord-wood, cabbages, and unmarketable turnips), and on a lucky summer's day he left town to be gone a week, and asked me if I thought I could edit one issue of the paper judiciously. Ah! didn't I want to try! Higgins was the editor on the rival paper. He had lately been jilted, and one night a friend found an open note on the poor fellow's bed, in which he stated that he could no longer endure life and had drowned himself in Bear Creek. The friend ran down there and discovered Higgins wading back to shore. He had concluded he wouldn't. The village was full of it for several days, but Higgins did not suspect it. I thought this was a fine opportunity. I wrote an elaborately wretched account of the whole matter, and then illustrated it with villanous cuts engraved on the bottoms of wooden type with a jack-knife—one of them a picture of Higgins wading out into the creek in his shirt, with a lantern, sounding the depth of the water with a walking-stick. I thought it was desperately funny, and was densely unconscious that there was any moral obliquity about such a publication. Being satisfied with this effort, I looked around for other worlds to conquer, and it struck me that it would make good, interesting matter to charge the editor of a neighboring country paper with a piece of gratuitous rascality and "see him squirm."

"HE HAD CONCLUDED HE WOULDN'T" "HE HAD CONCLUDED HE WOULDN'T"

I did it, putting the article into the form of a parody on the "Burial of Sir John Moore"—and a pretty crude parody it was, too.

Then I lampooned two prominent citizens outrageously—not because they had done anything to deserve it, but merely because I thought it was my duty to make the paper lively.

Next I gently touched up the newest stranger—the lion of the day, the gorgeous journeyman tailor from Quincy. He was a simpering coxcomb of the first water, and the "loudest" dressed man in the State. He was an inveterate woman-killer. Every week he wrote lushy "poetry" for the Journal, about his newest conquest. His rhymes for my week were headed, "To Mary in H—l," meaning to Mary in Hannibal, of course. But while setting up the piece I was suddenly riven from head to heel by what I regarded as a perfect thunderbolt of humor, and I compressed it into a snappy footnote at the bottom—thus:

"We will let this thing pass, just this once; but we wish Mr. J. Gordon Runnels to understand distinctly that we have a character to sustain, and from this time forth when he wants to commune with his friends in h—l, he must select some other medium than the columns of this journal!"

The paper came out, and I never knew any little thing attract so much attention as those playful trifles of mine.

For once the Hannibal Journal was in demand—a novelty it had not experienced before. The whole town was stirred. Higgins dropped in with a double-barrelled shot-gun early in the forenoon. When he found that it was an infant (as he called me) that had done him the damage, he simply pulled my ears and went away; but he threw up his situation that night and left town for good. The tailor came with his goose and a pair of shears; but he despised me, too, and departed for the South that night. The two lampooned citizens came with threats of libel, and went away incensed at my insignificance. The country editor pranced in with a warwhoop next day, suffering for blood to drink; but he ended by forgiving me cordially and inviting me down to the drug-store to wash away all animosity in a friendly bumper of "Fahnestock's Vermifuge." It was his little joke. My uncle was very angry when he got back—unreasonably so, I thought, considering what an impetus I had given the paper, and considering also that gratitude for his preservation ought to have been uppermost in his mind, inasmuch as by his delay he had so wonderfully escaped dissection, tomahawking, libel, and getting his head shot off. But he softened when he looked at the accounts and saw that I had actually booked the unparalleled number of thirty-three new subscribers, and had the vegetables to show for it—cord-wood, cabbage, beans, and unsalable turnips enough to run the family for two years!

Journalism in Tennessee

The editor of the Memphis Avalanche swoops thus mildly down upon a correspondent who posted him as a Radical: "While he was writing the first word, the middle, dotting his i's, crossing his t's, and punching his period, he knew he was concocting a sentence that was saturated with infamy and reeking with falsehood."—Exchange.

I was told by the physician that a Southern climate would improve my health, and so I went down to Tennessee and got a berth on the Morning-Glory and Johnson County Warwhoop as associate editor. When I went on duty I found the chief editor sitting tilted back in a three-legged chair with his feet on a pine table. There was another pine table in the room and another afflicted chair, and both were half buried under newspapers and scraps and sheets of manuscript. There was a wooden box of sand, sprinkled with cigar-stubs and "old soldiers," and a stove with a door hanging by its upper hinge. The chief editor had a long-tailed black cloth frock-coat on, and white linen pants. His boots were small and neatly blacked. He wore a ruffled shirt, a large seal ring, a standing collar of obsolete pattern, and a checkered neckerchief with the ends hanging down. Date of costume about 1848. He was smoking a cigar, and trying to think of a word, and in pawing his hair he had rumpled his locks a good deal. He was scowling fearfully, and I judged that he was concocting a particularly knotty editorial. He told me to take the exchanges and skim through them and write up the "Spirit of the Tennessee Press," condensing into the article all of their contents that seemed of interest.

I wrote as follows:

"SPIRIT OF THE TENNESSEE PRESS

"The editors of the Semi-Weekly Earthquake evidently labor under a misapprehension with regard to the Ballyhack railroad. It is not the object of the company to leave Buzzardville off to one side. On the contrary, they consider it one of the most important points along the line, and consequently can have no desire to slight it. The gentlemen of the Earthquake will, of course, take pleasure in making the correction.

"John W. Blossom, Esq., the able editor of the Higginsville Thunderbolt and Battle-Cry of Freedom, arrived in the city yesterday. He is stopping at the Van Buren House.

"We observe that our contemporary of the Mud Springs Morning Howl has fallen into the error of supposing that the election of Van Werter is not an established fact, but he will have discovered his mistake before this reminder reaches him, no doubt. He was doubtless misled by incomplete election returns.

"It is pleasant to note that the city of Blathersville is endeavoring to contract with some New York gentlemen to pave its wellnigh impassable streets with the Nicholson pavement. The Daily Hurrah urges the measure with ability, and seems confident of ultimate success."

I passed my manuscript over to the chief editor for acceptance, alteration, or destruction. He glanced at it and his face clouded. He ran his eye down the pages, and his countenance grew portentous. It was easy to see that something was wrong. Presently he sprang up and said:

"Thunder and lightning! Do you suppose I am going to speak of those cattle that way? Do you suppose my subscribers are going to stand such gruel as that? Give me the pen!"

I never saw a pen scrape and scratch its way so viciously, or plough through another man's verbs and adjectives so relentlessly. While he was in the midst of his work, somebody shot at him through the open window, and marred the symmetry of my ear.

"Ah," said he, "that is that scoundrel Smith, of the Moral Volcano—he was due yesterday." And he snatched a navy revolver from his belt and fired. Smith dropped, shot in the thigh. The shot spoiled Smith's aim, who was just taking a second chance, and he crippled a stranger. It was me. Merely a finger shot off.

Then the chief editor went on with his erasures and interlineations. Just as he finished them a hand-grenade came down the stove-pipe, and the explosion shivered the stove into a thousand fragments. However, it did no further damage, except that a vagrant piece knocked a couple of my teeth out.

"That stove is utterly ruined," said the chief editor.

I said I believed it was.

"Well, no matter—don't want it this kind of weather. I know the man that did it. I'll get him. Now, here is the way this stuff ought to be written."

I took the manuscript. It was scarred with erasures and interlineations till its mother wouldn't have known it if it had had one. It now read as follows:

"SPIRIT OF THE TENNESSEE PRESS

"The inveterate liars of the Semi-Weekly Earthquake are evidently endeavoring to palm off upon a noble and chivalrous people another of their vile and brutal falsehoods with regard to that most glorious conception of the nineteenth century, the Ballyhack railroad. The idea that Buzzardville was to be left off at one side originated in their own fulsome brains—or rather in the settlings which they regard as brains. They had better swallow this lie if they want to save their abandoned reptile carcasses the cowhiding they so richly deserve.

"That ass, Blossom, of the Higginsville Thunderbolt and Battle-Cry of Freedom, is down here again sponging at the Van Buren.

"We observe that the besotted blackguard of the Mud Springs Morning Howl is giving out, with his usual propensity for lying, that Van Werter is not elected. The heaven-born mission of journalism is to disseminate truth: to eradicate error; to educate, refine, and elevate the tone of public morals and manners, and make all men more gentle, more virtuous, more charitable, and in all ways better, and holier, and happier; and yet this black-hearted scoundrel degrades his great office persistently to the dissemination of falsehood, calumny, vituperation, and vulgarity.

"Blathersville wants a Nicholson pavement—it wants a jail and a poor-house more. The idea of a pavement in a one-horse town composed of two gin-mills, a blacksmith-shop, and that mustard-plaster of a newspaper, the Daily Hurrah! The crawling insect, Buckner, who edits the Hurrah, is braying about this business with his customary imbecility, and imagining that he is talking sense."

"Now that is the way to write—peppery and to the point. Mush-and-milk journalism gives me the fan-tods."

About this time a brick came through the window with a splintering crash, and gave me a considerable of a jolt in the back. I moved out of range—I began to feel in the way.

The chief said: "That was the Colonel, likely. I've been expecting him for two days. He will be up now right away."

He was correct. The Colonel appeared in the door a moment afterwards with a dragoon revolver in his hand.

He said: "Sir, have I the honor of addressing the poltroon who edits this mangy sheet?"

"You have. Be seated, sir. Be careful of the chair, one of its legs is gone. I believe I have the honor of addressing the putrid liar, Colonel Blatherskite Tecumseh?"

"Right, sir. I have a little account to settle with you. If you are at leisure we will begin."

"I have an article on the 'Encouraging Progress of Moral and Intellectual Development in America' to finish, but there is no hurry. Begin."

Both pistols rang out their fierce clamor at the same instant. The chief lost a lock of his hair, and the Colonel's bullet ended its career in the fleshy part of my thigh. The Colonel's left shoulder was clipped a little. They fired again. Both missed their men this time, but I got my share, a shot in the arm. At the third fire both gentlemen were wounded slightly, and I had a knuckle chipped. I then said I believed I would go out and take a walk, as this was a private matter, and I had a delicacy about participating in it further. But both gentlemen begged me to keep my seat, and assured me that I was not in the way.

They then talked about the elections and the crops while they reloaded, and I fell to tying up my wounds. But presently they opened fire again with animation, and every shot took effect—but it is proper to remark that five out of the six fell to my share. The sixth one mortally wounded the Colonel, who remarked, with fine humor, that he would have to say good-morning now, as he had business up-town. He then inquired the way to the undertaker's and left.

The chief turned to me and said: "I am expecting company to dinner, and shall have to get ready. It will be a favor to me if you will read proof and attend to the customers."

I winced a little at the idea of attending to the customers, but I was too bewildered by the fusillade that was still ringing in my ears to think of anything to say.

He continued: "Jones will be here at three—cowhide him. Gillespie will call earlier, perhaps—throw him out of the window. Ferguson will be along about four—kill him. That is all for to-day, I believe. If you have any odd time, you may write a blistering article on the police—give the chief inspector rats. The cowhides are under the table; weapons in the drawer—ammunition there in the corner—lint and bandages up there in the pigeon-holes. In case of accident, go to Lancet, the surgeon, down-stairs. He advertises—we take it out in trade."

"GILLESPIE HAD CALLED" "GILLESPIE HAD CALLED"

He was gone. I shuddered. At the end of the next three hours I had been through perils so awful that all peace of mind and all cheerfulness were gone from me. Gillespie had called and thrown me out of the window. Jones arrived promptly, and when I got ready to do the cowhiding he took the job off my hands. In an encounter with a stranger, not in the bill of fare, I had lost my scalp. Another stranger, by the name of Thompson, left me a mere wreck and ruin of chaotic rags. And at last, at bay in the corner, and beset by an infuriated mob of editors, blacklegs, politicians, and desperadoes, who raved and swore and flourished their weapons about my head till the air shimmered with glancing flashes of steel, I was in the act of resigning my berth on the paper when the chief arrived, and with him a rabble of charmed and enthusiastic friends. Then ensued a scene of riot and carnage such as no human pen, or steel one either, could describe. People were shot, probed, dismembered, blown up, thrown out of the window. There was a brief tornado of murky blasphemy, with a confused and frantic war-dance glimmering through it, and then all was over. In five minutes there was silence, and the gory chief and I sat alone and surveyed the sanguinary ruin that strewed the floor around us.

He said: "You'll like this place when you get used to it."

I said: "I'll have to get you to excuse me; I think maybe I might write to suit you after a while; as soon as I had had some practice and learned the language I am confident I could. But, to speak the plain truth, that sort of energy of expression has its inconveniences, and a man is liable to interruption. You see that yourself. Vigorous writing is calculated to elevate the public, no doubt, but then I do not like to attract so much attention as it calls forth. I can't write with comfort when I am interrupted so much as I have been to-day. I like this berth well enough, but I don't like to be left here to wait on the customers. The experiences are novel, I grant you, and entertaining, too, after a fashion, but they are not judiciously distributed. A gentleman shoots at you through the window and cripples me; a bomb-shell comes down the stove-pipe for your gratification and sends the stove-door down my throat; a friend drops in to swap compliments with you, and freckles me with bullet-holes till my skin won't hold my principles; you go to dinner, and Jones comes with his cowhide, Gillespie throws me out of the window, Thompson tears all my clothes off, and an entire stranger takes my scalp with the easy freedom of an old acquaintance; and in less than five minutes all the blackguards in the country arrive in their war-paint, and proceed to scare the rest of me to death with their tomahawks. Take it altogether, I never had such a spirited time in all my life as I have had to-day. No; I like you, and I like your calm, unruffled way of explaining things to the customers, but you see I am not used to it. The Southern heart is too impulsive; Southern hospitality is too lavish with the stranger. The paragraphs which I have written to-day, and into whose cold sentences your masterly hand has infused the fervent spirit of Tennessean journalism, will wake up another nest of hornets. All that mob of editors will come—and they will come hungry, too, and want somebody for breakfast. I shall have to bid you adieu. I decline to be present at these festivities. I came South for my health; I will go back on the same errand, and suddenly. Tennessean journalism is too stirring for me."

After which we parted with mutual regret, and I took apartments at the hospital.

Nicodemus Dodge—Printer

When I was a boy in a printing-office in Missouri, a loose-jointed, long-legged, tow-headed, jeans-clad, countrified cub of about sixteen lounged in one day, and without removing his hands from the depths of his trousers pockets or taking off his faded ruin of a slouch hat, whose broken rim hung limp and ragged about his eyes and ears like a bug-eaten cabbage-leaf, stared indifferently around, then leaned his hip against the editors' table, crossed his mighty brogans, aimed at a distant fly from a crevice in his upper teeth, laid him low, and said, with composure:

"Whar's the boss?"

"I am the boss," said the editor, following this curious bit of architecture wonderingly along up to its clock-face with his eye.

"Don't want anybody fur to learn the business, 'tain't likely?"

"Well, I don't know. Would you like to learn it?"

"Pap's so po' he cain't run me no mo', so I want to git a show somers if I kin, 'tain't no diffunce what—I'm strong and hearty, and I don't turn my back on no kind of work, hard nur soft."

"Do you think you would like to learn the printing business?"

"Well, I don't re'ly k'yer a durn what I do learn, so's I git a chance fur to make my way. I'd jist as soon learn print'n' 's anything."

"Can you read?"

"Yes—middlin'."

"Write?"

"Well, I've seed people could lay over me thar."

"Cipher?"

"Not good enough to keep store, I don't reckon, but up as fur as twelve-times-twelve I ain't no slouch. 'Tother side of that is what gits me."

"Where is your home?"

"I'm f'm old Shelby."

"What's your father's religious denomination?"

"Him? Oh, he's a blacksmith."

"No, no—I don't mean his trade. What's his religious denomination?"

"Oh—I didn't understand you befo'. He's a Freemason."

"No, no; you don't get my meaning yet. What I mean is, does he belong to any church?"

"Now you're talkin'! Gouldn't[sic] make out what you was a-tryin' to git through yo' head no way. B'long to a church! Why, boss, he's be'n the pizenest kind of a Free-will Babtis' for forty year. They ain't no pizener ones 'n' what he is. Mighty good man, pap is. Everybody says that. If they said any diffrunt they wouldn't say it whar I wuz—not much they wouldn't."

"What is your own religion?"

"Well, boss, you've kind o' got me thar—and yit you hain't got me so mighty much, nuther. I think 't if a feller he'ps another feller when he's in trouble, and don't cuss, and don't do no mean things, nur noth'n' he ain' no business to do, and don't spell the Saviour's name with a little g, he ain't runnin' no resks—he's about as saift as if he b'longed to a church."

"But suppose he did spell it with a little g—what then?"

"Well, if he done it a-purpose, I reckon he wouldn't stand no chance,—he oughtn't to have no chance, anyway, I'm most rotten certain 'bout that."

"What is your name?"

"Nicodemus Dodge."

"I think maybe you'll do, Nicodemus. We'll give you a trial, anyway."

"All right."

"When would you like to begin?"

"Now."

So, within ten minutes after we had first glimpsed this nondescript he was one of us, and with his coat off and hard at it.

Beyond that end of our establishment which was farthest from the street was a deserted garden, pathless, and thickly grown with the bloomy and villanous "jimpson" weed and its common friend the stately sunflower. In the midst of this mournful spot was a decayed and aged little "frame" house with but one room, one window, and no ceiling—it had been a smoke-house a generation before. Nicodemus was given this lonely and ghostly den as a bedchamber.

The village smarties recognized a treasure in Nicodemus right away—a butt to play jokes on. It was easy to see that he was inconceivably green and confiding. George Jones had the glory of perpetrating the first joke on him; he gave him a cigar with a fire-cracker in it and winked to the crowd to come; the thing exploded presently and swept away the bulk of Nicodemus's eyebrows and eyelashes. He simply said:

"I consider them kind of seeg'yars dangersome"—and seemed to suspect nothing. The next evening Nicodemus waylaid George and poured a bucket of ice-water over him.

One day, while Nicodemus was in swimming, Tom McElroy "tied" his clothes. Nicodemus made a bonfire of Tom's by way of retaliation.

A third joke was played upon Nicodemus a day or two later—he walked up the middle aisle of the village church, Sunday night, with a staring hand-bill pinned between his shoulders. The joker spent the remainder of the night, after church, in the cellar of a deserted house, and Nicodemus sat on the cellar door till towards breakfast-time to make sure that the prisoner remembered that if any noise was made some rough treatment would be the consequence. The cellar had two feet of stagnant water in it, and was bottomed with six inches of soft mud.

"WHEEZING THE MUSIC OF 'CAMPTOWN RACES'" "WHEEZING THE MUSIC OF 'CAMPTOWN RACES'"

But I wander from the point. It was the subject of skeletons that brought this boy back to my recollection. Before a very long time had elapsed, the village smarties began to feel an uncomfortable consciousness of not having made a very shining success out of their attempts on the simpleton from "old Shelby." Experimenters grew scarce and chary. Now the young doctor came to the rescue. There was delight and applause when he proposed to scare Nicodemus to death, and explained how he was going to do it. He had a noble new skeleton—the skeleton of the late and only local celebrity, Jimmy Finn, the village drunkard—a grisly piece of property which he had bought of Jimmy Finn himself, at auction, for fifty dollars, under great competition, when Jimmy lay very sick in the tanyard a fortnight before his death. The fifty dollars had gone promptly for whiskey and had considerably hurried up the change of ownership in the skeleton. The doctor would put Jimmy Finn's skeleton in Nicodemus's bed!

This was done—about half-past ten in the evening. About Nicodemus's usual bedtime—midnight—the village jokers came creeping stealthily through the jimpson weeds and sunflowers towards the lonely frame den. They reached the window and peeped in. There sat the long-legged pauper, on his bed, in a very short shirt, and nothing more; he was dangling his legs contentedly back and forth, and wheezing the music of "Camptown Races" out of a paper-overlaid comb which he was pressing against his mouth; by him lay a new jews-harp, a new top, a solid india-rubber ball, a handful of painted marbles, five pounds of "store" candy, and a well-knawed slab of gingerbread as big and as thick as a volume of sheet music. He had sold the skeleton to a travelling quack for three dollars and was enjoying the result!

Mr. Bloke's Item

Our esteemed friend, Mr. John William Bloke, of Virginia City, walked into the office where we are sub-editor at a late hour last night, with an expression of profound and heartfelt suffering upon his countenance, and, sighing heavily, laid the following item reverently upon the desk, and walked slowly out again. He paused a moment at the door, and seemed struggling to command his feelings sufficiently to enable him to speak, and then, nodding his head towards his manuscript, ejaculated in a broken voice, "Friend of mine—oh! how sad!" and burst into tears. We were so moved at his distress that we did not think to call him back and endeavor to comfort him until he was gone, and it was too late. The paper had already gone to press, but knowing that our friend would consider the publication of this item important, and cherishing the hope that to print it would afford a melancholy satisfaction to his sorrowing heart, we stopped the press at once and inserted it in our columns:

Distressing Accident.—Last evening, about six o'clock, as Mr. William Schuyler, an old and respectable citizen of South Park, was leaving his residence to go down-town, as has been his usual custom for many years with the exception only of a short interval in the spring of 1850, during which he was confined to his bed by injuries received in attempting to stop a runaway horse by thoughtlessly placing himself directly in its wake and throwing up his hands and shouting, which, if he had done so even a single moment sooner, must inevitably have frightened the animal still more instead of checking its speed, although disastrous enough to himself as it was, and rendered more melancholy and distressing by reason of the presence of his wife's mother, who was there and saw the sad occurrence, notwithstanding it is at least likely, though not necessarily so, that she should be reconnoitring in another direction when incidents occur, not being vivacious and on the lookout, as a general thing, but even the reverse, as her own mother is said to have stated, who is no more, but died in the full hope of a glorious resurrection, upward of three years ago, aged eighty-six, being a Christian woman and without guile, as it were, or property, in consequence of the fire of 1849, which destroyed every single thing she had in the world. But such is life. Let us all take warning by this solemn occurrence, and let us endeavor so to conduct ourselves that when we come to die we can do it. Let us place our hands upon our heart, and say with earnestness and sincerity that from this day forth we will beware of the intoxicating bowl.—First edition of the Californian.

The head editor has been in here raising the mischief, and tearing his hair and kicking the furniture about, and abusing me like a pickpocket. He says that every time he leaves me in charge of the paper for half an hour, I get imposed upon by the first infant or the first idiot that comes along. And he says that that distressing item of Mr. Bloke's is nothing but a lot of distressing bosh, and has no point to it, and no sense in it, and no information in it, and that there was no sort of necessity for stopping the press to publish it.

Now all this comes of being good-hearted. If I had been as unaccommodating and unsympathetic as some people, I would have told Mr. Bloke that I wouldn't receive his communication at such a late hour; but no, his snuffling distress touched my heart, and I jumped at the chance of doing something to modify his misery. I never read his item to see whether there was anything wrong about it, but hastily wrote the few lines which preceded it, and sent it to the printers. And what has my kindness done for me? It has done nothing but bring down upon me a storm of abuse and ornamental blasphemy.

Now I will read that item myself, and see if there is any foundation for all this fuss. And if there is, the author of it shall hear from me.

I have read it, and I am bound to admit that it seems a little mixed at a first glance. However, I will peruse it once more.

I have read it again, and it does really seem a good deal more mixed than ever.

I have read it over five times, but if I can get at the meaning of it, I wish I may get my just deserts. It won't bear analysis. There are things about it which I cannot understand at all. It don't say what ever became of William Schuyler. It just says enough about him to get one interested in his career, and then drops him. Who is William Schuyler, anyhow, and what part of South Park did he live in, and if he started down-town at six o'clock, did he ever get there, and if he did, did anything happen to him? Is he the individual that met with the "distressing accident"? Considering the elaborate circumstantiality of detail observable in the item, it seems to me that it ought to contain more information than it does. On the contrary, it is obscure—and not only obscure, but utterly incomprehensible. Was the breaking of Mr. Schuyler's leg, fifteen years ago, the "distressing accident" that plunged Mr. Bloke into unspeakable grief, and caused him to come up here at dead of night and stop our press to acquaint the world with the circumstance? Or did the "distressing accident" consist in the destruction of Schuyler's mother-in-law's property in early times? Or did it consist in the death of that person herself three years ago (albeit it does not appear that she died by accident)? In a word, what did that "distressing accident" consist in? What did that drivelling ass of a Schuyler stand in the wake of a runaway horse for, with his shouting and gesticulating, if he wanted to stop him? And how the mischief could he get run over by a horse that had already passed beyond him? And what are we to take "warning" by? And how is this extraordinary chapter of incomprehensibilities going to be a "lesson" to us? And, above all, what has the intoxicating "bowl" got to do with it, anyhow? It is not stated that Schuyler drank, or that his wife drank, or that his mother-in-law drank, or that the horse drank—wherefore, then, the reference to the intoxicating bowl? It does seem to me that if Mr. Bloke had let the intoxicating bowl alone himself, he never would have got into so much trouble about this exasperating imaginary accident. I have read this absurd item over and over again, with all its insinuating plausibility, until my head swims, but I can make neither head nor tail of it. There certainly seems to have been an accident of some kind or other, but it is impossible to determine what the nature of it was, or who was the sufferer by it. I do not like to do it, but I feel compelled to request that the next time anything happens to one of Mr. Bloke's friends, he will append such explanatory notes to his account of it as will enable me to find out what sort of an accident it was and whom it happened to. I had rather all his friends should die than that I should be driven to the verge of lunacy again in trying to cipher out the meaning of another such production as the above.

"I HAVE READ THIS ABSURD ITEM OVER" "I HAVE READ THIS ABSURD ITEM OVER"

How I Edited an Agricultural Paper

I did not take temporary editorship of an agricultural paper without misgivings. Neither would a landsman take command of a ship without misgivings. But I was in circumstances that made the salary an object. The regular editor of the paper was going off for a holiday, and I accepted the terms he offered, and took his place.

The sensation of being at work again was luxurious, and I wrought all the week with unflagging pleasure. We went to press, and I waited a day with some solicitude to see whether my effort was going to attract any notice. As I left the office, towards sundown, a group of men and boys at the foot of the stairs dispersed with one impulse, and gave me passageway, and I heard one or two of them say, "That's him!" I was naturally pleased by this incident. The next morning I found a similar group at the foot of the stairs, and scattering couples and individuals standing here and there in the street, and over the way, watching me with interest. The group separated and fell back as I approached, and I heard a man say, "Look at his eye!" I pretended not to observe the notice I was attracting, but secretly I was pleased with it, and was purposing to write an account of it to my aunt. I went up the short flight of stairs, and heard cheery voices and a ringing laugh as I drew near the door, which I opened, and caught a glimpse of two young rural-looking men, whose faces blanched and lengthened when they saw me, and then they both plunged through the window with a great crash. I was surprised.

In about half an hour an old gentleman, with a flowing beard and a fine but rather austere face, entered, and sat down at my invitation. He seemed to have something on his mind. He took off his hat and set it on the floor, and got out of it a red silk handkerchief and a copy of our paper.

He put the paper on his lap, and while he polished his spectacles with his handkerchief, he said, "Are you the new editor?"

I said I was.

"Have you ever edited an agricultural paper before?"

"No," I said; "this is my first attempt."

"Very likely. Have you had any experience in agriculture practically?"

"No; I believe I have not."

"Some instinct told me so," said the old gentleman, putting on his spectacles, and looking over them at me with asperity, while he folded his paper into a convenient shape. "I wish to read you what must have made me have that instinct. It was this editorial. Listen, and see if it was you that wrote it:

"Turnips should never be pulled, it injures them. It is much better to send a boy up and let him shake the tree."

"Now, what do you think of that—for I really suppose you wrote it?"

"Think of it? Why, I think it is good. I think it is sense. I have no doubt that every year millions and millions of bushels of turnips are spoiled in this township alone by being pulled in a half-ripe condition, when, if they had sent a boy up to shake the tree—"

"Shake your grandmother! Turnips don't grow on trees!"

"Oh, they don't, don't they! Well, who said they did? The language was intended to be figurative, wholly figurative. Anybody that knows anything will know that I meant that the boy should shake the vine."

Then this old person got up and tore his paper all into small shreds, and stamped on them, and broke several things with his cane, and said I did not know as much as a cow; and then went out and banged the door after him, and, in short, acted in such a way that I fancied he was displeased about something. But not knowing what the trouble was, I could not be any help to him.

"A LONG CADAVEROUS CREATURE" "A LONG CADAVEROUS CREATURE"

Pretty soon after this a long cadaverous creature, with lanky locks hanging down to his shoulders, and a week's stubble bristling from the hills and valleys of his face, darted within the door, and halted, motionless, with finger on lip, and head and body bent in listening attitude. No sound was heard. Still he listened. No sound. Then he turned the key in the door, and came elaborately tiptoeing towards me till he was within long reaching distance of me, when he stopped and, after scanning my face with intense interest for a while, drew a folded copy of our paper from his bosom, and said:

"There, you wrote that. Read it to me—quick! Relieve me. I suffer."

I read as follows; and as the sentences fell from my lips I could see the relief come, I could see the drawn muscles relax, and the anxiety go out of the face, and rest and peace steal over the features like the merciful moonlight over a desolate landscape:

"The guano is a fine bird, but great care is necessary in rearing it. It should not be imported earlier than June or later than September. In the winter it should be kept in a warm place, where it can hatch out its young.

"It is evident that we are to have a backward season for grain. Therefore it will be well for the farmer to begin setting out his corn-stalks and planting his buckwheat-cakes in July instead of August.

"Concerning the pumpkin.—This berry is a favorite with the natives of the interior of New England, who prefer it to the gooseberry for the making of fruit-cake, and who likewise give it the preference over the raspberry for feeding cows, as being more filling and fully as satisfying. The pumpkin is the only esculent of the orange family that will thrive in the North, except the gourd and one or two varieties of the squash. But the custom of planting it in the front yard with the shrubbery is fast going out of vogue, for it is now generally conceded that the pumpkin as a shade tree is a failure.

"Now, as the warm weather approaches, and the ganders begin to spawn"—

The excited listener sprang towards me to shake hands, and said:

"There, there—that will do. I know I am all right now, because you have read it just as I did, word for word. But, stranger, when I first read it this morning, I said to myself, I never, never believed it before, notwithstanding my friends kept me under watch so strict, but now I believe I am crazy; and with that I fetched a howl that you might have heard two miles, and started out to kill somebody—because, you know, I knew it would come to that sooner or later, and so I might as well begin. I read one of them paragraphs over again, so as to be certain, and then I burned my house down and started. I have crippled several people, and have got one fellow up a tree, where I can get him if I want him. But I thought I would call in here as I passed along and make the thing perfectly certain; and now it is certain, and I tell you it is lucky for the chap that is in the tree. I should have killed him sure, as I went back. Good-bye, sir, good-bye; you have taken a great load off my mind. My reason has stood the strain of one of your agricultural articles, and I know that nothing can ever unseat it now. Good-bye, sir."

I felt a little uncomfortable about the cripplings and arsons this person had been entertaining himself with, for I could not help feeling remotely accessory to them. But these thoughts were quickly banished, for the regular editor walked in! [I thought to myself, Now if you had gone to Egypt, as I recommended you to, I might have had a chance to get my hand in; but you wouldn't do it, and here you are. I sort of expected you.]

The editor was looking sad and perplexed and dejected.

He surveyed the wreck which that old rioter and these two young farmers had made, and then said: "This is a sad business—a very sad business. There is the mucilage-bottle broken, and six panes of glass, and a spittoon, and two candlesticks. But that is not the worst. The reputation of the paper is injured—and permanently, I fear. True, there never was such a call for the paper before, and it never sold such a large edition or soared to such celebrity; but does one want to be famous for lunacy, and prosper upon the infirmities of his mind? My friend, as I am an honest man, the street out here is full of people, and others are roosting on the fences, waiting to get a glimpse of you, because they think you are crazy. And well they might after reading your editorials. They are a disgrace to journalism. Why, what put it into your head that you could edit a paper of this nature? You do not seem to know the first rudiments of agriculture. You speak of a furrow and a harrow as being the same thing; you talk of the moulting season for cows; and you recommend the domestication of the polecat on account of its playfulness and its excellence as a ratter! Your remark that clams will lie quiet if music be played to them was superfluous—entirely superfluous. Nothing disturbs clams. Clams always lie quiet. Clams care nothing whatever about music. Ah, heavens and earth, friend! if you had made the acquiring of ignorance the study of your life, you could not have graduated with higher honor than you could to-day. I never saw anything like it. Your observation that the horse-chestnut as an article of commerce is steadily gaining in favor, is simply calculated to destroy this journal. I want you to throw up your situation and go. I want no more holiday—I could not enjoy it if I had it. Certainly not with you in my chair. I would always stand in dread of what you might be going to recommend next. It makes me lose all patience every time I think of your discussing oyster-beds under the head of 'Landscape Gardening.' I want you to go. Nothing on earth could persuade me to take another holiday. Oh! why didn't you tell me you didn't know anything about agriculture?"

"Tell you, you cornstalk, you cabbage, you son of a cauliflower? It's the first time I ever heard such an unfeeling remark. I tell you I have been in the editorial business going on fourteen years, and it is the first time I ever heard of a man's having to know anything in order to edit a newspaper. You turnip! Who write the dramatic critiques for the second-rate papers? Why, a parcel of promoted shoemakers and apprentice apothecaries, who know just as much about good acting as I do about good farming and no more. Who review the books? People who never wrote one. Who do up the heavy leaders on finance? Parties who have had the largest opportunities for knowing nothing about it. Who criticise the Indian campaigns? Gentlemen who do not know a warwhoop from a wigwam, and who never have had to run a foot-race with a tomahawk, or pluck arrows out of the several members of their families to build the evening campfire with. Who write the temperance appeals, and clamor about the flowing bowl? Folks who will never draw another sober breath till they do it in the grave. Who edit the agricultural papers, you—yam? Men, as a general thing, who fail in the poetry line, yellow-colored novel line, sensation-drama line, city-editor line, and finally fall back on agriculture as a temporary reprieve from the poor-house. You try to tell me anything about the newspaper business! Sir, I have been through it from Alpha to Omaha, and I tell you that the less a man knows the bigger the noise he makes and the higher the salary he commands. Heaven knows if I had but been ignorant instead of cultivated, and impudent instead of diffident, I could have made a name for myself in this cold selfish world. I take my leave, sir. Since I have been treated as you have treated me, I am perfectly willing to go. But I have done my duty. I have fulfilled my contract as far as I was permitted to do it. I said I could make your paper of interest to all classes—and I have. I said I could run your circulation up to twenty thousand copies, and if I had had two more weeks I'd have done it. And I'd have given you the best class of readers that ever an agricultural paper had—not a farmer in it, nor a solitary individual who could tell a watermelon-tree from a peach-vine to save his life. You are the loser by this rupture, not me, Pie-plant. Adios."

I then left.

The Killing of Julius Cæsar "Localized"

Being the only true and reliable account ever published; taken from the "Roman Daily Evening Fasces," of the date of that tremendous occurrence.

Nothing in the world affords a newspaper reporter so much satisfaction as gathering up the details of a bloody and mysterious murder, and writing them up with aggravating circumstantiality. He takes a living delight in this labor of love—for such it is to him, especially if he knows that all the other papers have gone to press, and his will be the only one that will contain the dreadful intelligence. A feeling of regret has often come over me that I was not reporting in Rome when Cæsar was killed—reporting on an evening paper, and the only one in the city, and getting at least twelve hours ahead of the morning-paper boys with this most magnificent "item" that ever fell to the lot of the craft. Other events have happened as startling as this, but none that possessed so peculiarly all the characteristics of the favorite "item" of the present day, magnified into grandeur and sublimity by the high rank, fame, and social and political standing of the actors in it.

However, as I was not permitted to report Cæsar's assassination in the regular way, it has at least afforded me rare satisfaction to translate the following able account of it from the original Latin of the Roman Daily Evening Fasces of that date—second edition.

"Our usually quiet city of Rome was thrown into a state of wild excitement yesterday by the occurrence of one of those bloody affrays which sicken the heart and fill the soul with fear, while they inspire all thinking men with forebodings for the future of a city where human life is held so cheaply, and the gravest laws are so openly set at defiance. As the result of that affray, it is our painful duty, as public journalists, to record the death of one of our most esteemed citizens—a man whose name is known wherever this paper circulates, and whose fame it has been our pleasure and our privilege to extend, and also to protect from the tongue of slander and falsehood, to the best of our poor ability. We refer to Mr. J. Cæsar, the Emperor-elect.

"The facts of the case, as nearly as our reporter could determine them from the conflicting statements of eyewitnesses, were about as follows:—The affair was an election row, of course. Nine-tenths of the ghastly butcheries that disgrace the city nowadays grow out of the bickerings and jealousies and animosities engendered by these accursed elections. Rome would be the gainer by it if her very constables were elected to serve a century; for in our experience we have never even been able to choose a dog-pelter without celebrating the event with a dozen knockdowns and a general cramming of the station-house with drunken vagabonds overnight. It is said that when the immense majority for Cæsar at the polls in the market was declared the other day, and the crown was offered to that gentleman, even his amazing unselfishness in refusing it three times was not sufficient to save him from the whispered insults of such men as Casca, of the Tenth Ward, and other hirelings of the disappointed candidate, hailing mostly from the Eleventh and Thirteenth and other outside districts, who were overheard speaking ironically and contemptuously of Mr. Cæsar's conduct upon that occasion.

"We are further informed that there are many among us who think they are justified in believing that the assassination of Julius Cæsar was a put-up thing—a cut-and-dried arrangement, hatched by Marcus Brutus and a lot of his hired roughs, and carried out only too faithfully according to the programme. Whether there be good grounds for this suspicion or not, we leave to the people to judge for themselves, only asking that they will read the following account of the sad occurrence carefully and dispassionately before they render that judgment.

"The Senate was already in session, and Cæsar was coming down the street towards the Capitol, conversing with some personal friends, and followed, as usual, by a large number of citizens. Just as he was passing in front of Demosthenes & Thucydides' drug-store, he was observing casually to a gentleman, who, our informant thinks, is a fortune-teller, that the Ides of March were come. The reply was, 'Yes, they are come, but not gone yet.' At this moment Artemidorus stepped up and passed the time of day, and asked Cæsar to read a schedule or a tract or something of the kind, which he had brought for his perusal. Mr. Decius Brutus also said something about an 'humble suit' which he wanted read. Artemidorus begged that attention might be paid to his first, because it was of personal consequence to Cæsar. The latter replied that what concerned himself should be read last, or words to that effect. Artemidorus begged and beseeched him to read the paper instantly.[1] However, Cæsar shook him off, and refused to read any petition in the street. He then entered the Capitol, and the crowd followed him.

"About this time the following conversation was overheard, and we consider that, taken in connection with the events which succeeded it, it bears an appalling significance: Mr. Papilius Lena remarked to George W. Cassius (commonly known as the 'Nobby Boy of the Third Ward'), a bruiser in the pay of the Opposition, that he hoped his enterprise to-day might thrive; and when Cassius asked, 'What enterprise?' he only closed his left eye temporarily and said with simulated indifference, 'Fare you well,' and sauntered towards Cæsar. Marcus Brutus, who is suspected of being the ringleader of the band that killed Cæsar, asked what it was that Lena had said. Cassius told him, and added, in a low tone, 'I fear our purpose is discovered.'

"Brutus told his wretched accomplice to keep an eye on Lena, and a moment after Cassius urged that lean and hungry vagrant, Casca, whose reputation here is none of the best, to be sudden for he feared prevention. He then turned to Brutus, apparently much excited, and asked what should be done, and swore that either he or Cæsar should never turn back—he would kill himself first. At this time Cæsar was talking to some of the back-country members about the approaching fall elections, and paying little attention to what was going on around him. Billy Trebonius got into conversation with the people's friend and Cæsar's—Mark Antony—and under some pretence or other got him away, and Brutus, Decius, Casca, Cinna, Metellus Cimber, and others of the gang of infamous desperadoes that infest Rome at present, closed around the doomed Cæsar. Then Metellus Cimber knelt down and begged that his brother might be recalled from banishment, but Cæsar rebuked him for his fawning conduct, and refused to grant his petition. Immediately, at Cimber's request, first Brutus and then Cassius begged for the return of the banished Publius; but Cæsar still refused. He said he could not be moved; that he was as fixed as the North Star, and proceeded to speak in the most complimentary terms of the firmness of that star and its steady character. Then he said he was like it, and he believed he was the only man in the country that was; therefore, since he was 'constant' that Cimber should be banished, he was also 'constant' that he should stay banished, and he'd be hanged if he didn't keep him so!

"Instantly seizing upon this shallow pretext for a fight, Casca sprang at Cæsar and struck him with a dirk. Cæsar grabbing him by the arm with his right hand, and launching a blow straight from the shoulder with his left that sent the reptile bleeding to the earth. He then backed up against Pompey's statue, and squared himself to receive his assailants. Cassius and Cimber and Cinna rushed upon him with their daggers drawn, and the former succeeded in inflicting a wound upon his body; but before he could strike again, and before either of the others could strike at all, Cæsar stretched the three miscreants at his feet with as many blows of his powerful fist. By this time the Senate was in an indescribable uproar; the throng of citizens in the lobbies had blockaded the doors in their frantic efforts to escape from the building, the sergeant-at-arms and his assistants were struggling with the assassins, venerable senators had cast aside their encumbering robes, and were leaping over benches and flying down the aisles in wild confusion towards the shelter of the committee-rooms, and a thousand voices were shouting 'Po-lice! Po-lice!' in discordant tones that rose above the frightful din like shrieking winds above the roaring of a tempest. And amid it all, great Cæsar stood with his back against the statue, like a lion at bay, and fought his assailants weaponless and hand to hand, with the defiant bearing and the unwavering courage which he had shown before on many a bloody field. Billy Trebonius and Caius Legarius struck him with their daggers and fell, as their brother-conspirators before them had fallen. But at last, when Cæsar saw his old friend Brutus step forward armed with a murderous knife, it is said he seemed utterly overpowered with grief and amazement, and dropping his invincible left arm by his side, he hid his face in the folds of his mantle and received the treacherous blow without an effort to stay the hand that gave it. He only said, 'Et tu, Brute?' and fell lifeless on the marble pavement.

"THERE WAS NOTHING IN THE POCKETS" "THERE WAS NOTHING IN THE POCKETS"

"We learn that the coat deceased had on when he was killed was the same one he wore in his tent on the afternoon of the day he overcame the Nervii, and that when it was removed from the corpse it was found to be cut and gashed in no less than seven different places. There was nothing in the pockets. It will be exhibited at the coroner's inquest, and will be damning proof of the fact of the killing. These latter facts may be relied on, as we get them from Mark Antony, whose position enables him to learn every item of news connected with the one subject of absorbing interest of to-day.

"Later.—While the coroner was summoning a jury, Mark Antony and other friends of the late Cæsar got hold of the body, and lugged it off to the Forum, and at last accounts Antony and Brutus were making speeches over it and raising such a row among the people that, as we go to press, the chief of police is satisfied there is going to be a riot, and is taking measures accordingly."

THE END

FOOTNOTE

1 Mark that: It is hinted by William Shakespeare, who saw the beginning and the end of the unfortunate affray, that this "schedule" was simply a note discovering to Cæsar that a plot was brewing to take his life.

*** END OF THE PROJECT GUTENBERG EBOOK EDITORIAL WILD OATS ***

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.