The Project Gutenberg eBook of Mrs. Hungerford

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: Mrs. Hungerford

Author: Helen C. Black

Release date: December 25, 2008 [eBook #27620]
Most recently updated: January 4, 2021

Language: English

Credits: Produced by Daniel Fromont

*** START OF THE PROJECT GUTENBERG EBOOK MRS. HUNGERFORD ***

Produced by Daniel Fromont

[Transcriber's note: Helen C. BLACK, article "Mrs. Hungerford" in Notable women authors of the day (1893) 1906 edition]

NOTABLE

WOMEN AUTHORS

OF THE DAY, By

HELEN C. BLACK

WITH PORTRAITS

LONDON: MACLAREN AND COMPANY

WAITHMAN STREET, PILGRIM STREET, E.C.

1906

CONTENTS

(…)

MRS. HUNGERFORD

(…)

It is well worth encountering the perils of the sea, even in the middle of winter, and in the teeth of a north-east wind, if only to experience the absolute comfort and ease with which, in these space-annihilating days, the once-dreaded journey from England to the Emerald Isle can be made. You have resolved to accept a hospitable invitation from Mrs. Hungerford, the well-known author of Molly Bawn, etc., to visit her at her lovely house, St. Brenda's, Bandon, co. Cork, where a 'hearty Irish welcome' is promised, and though circumstances prevent your availing yourself of the 'month's holiday' so kindly offered, and limit an absence from home to but four days, it is delightful to find that, travelling by the best of all possible routes—the Irish Mail—it is to be accomplished easily and without any fatiguing haste.

Having given due notice of your intentions, you arrive at Euston just in time for the 7.15 a.m. express, and find that by the kindness of the station-master a compartment is reserved, and every arrangement, including an excellent meal, is made for your comfort. The carriages are lighted by electricity, and run so smoothly that it is possible to get a couple of hours' good sleep, which the very early start has made so desirable. On reaching Holyhead at 1.30 p.m. to the minute, you are met by the courteous and attentive marine superintendant Captain Cay, R.N., who takes you straight on board the Ireland, the newest addition to the fleet of fine ships, owned by the City of Dublin Steam Packet Company. She is a magnificent vessel, 380 feet long, 38 feet in beam, 2,589 tons, and 6,000 horse-power; her fine, broad bridge, handsome deck-houses, and brass work glisten in the bright sunlight. She carries electric light; and the many airy private cabins indicate that, though built for speed, the comfort of her passengers has been a matter of much consideration. She is well captained, well officered, well manned, and well navigated. The good-looking, weather-beaten Captain Kendall is indeed the commodore of the company, and has made the passage for nearly thirty years. There is an unusually large number of passengers to-day, for it is the first week of the accelerated speed, and it is amusing to notice the rapidity with which the mails are shipped, on men's backs, which plan is found quicker than any appliance. Captain Cay remarks that it is no uncommon thing to ship seven hundred sacks on foreign mail days; he says, too, that never since these vessels were started has there been a single accident to life or limb. But the last bag is on board, steam is up, and away goes the ship past the South Stack lighthouse, built on an island under precipitous cliffs, from which a gun is fired when foggy, and in about an hour the Irish coast becomes visible, Howth and Bray Head. The sea gets pretty rough, but luckily does not interfere with your excellent appetite for the first-class refreshments supplied. The swift-revolving paddles churn the big waves into a thick foam as the good ship Ireland ploughs her way through at the rate of twenty knots an hour, 'making good weather of it', and actually accomplishes the voyage in three hours and fifteen minutes—one of the shortest runs on record. The punctuality with which these mail packets make the passage in all weathers is indeed truly wonderful—a fact which is experienced a few days later on the return journey. Kingstown is reached at 6.10 p.m. (Irish time), where the mail train is waiting to convey passengers by the new loop line that runs in a curve right through 'dear dirty Dublin', as it is popularly called, to Kingsbridge, and so on to Cork, where you put up for the night at the Imperial Hotel.

Another bright sunshiny morning opens, and shows old Cork at her best. Cork! the old city of Father Prout's poem, 'The Bells of Shandon', which begins thus: With deep affection and recollection

  I often think of Shandon bells,
  Whose sounds so wild would in days of childhood
  Fling round my cradle their magic spells,
  On this I ponder where'er I wander,
  And thus grow fonder, sweet Cork, of thee;
  With the bells of Shandon
  That sound so grand on, etc. etc.

The river Lee runs through the handsome little city, and has often been favourably compared with the Rhine. But Bandon must be reached, which is easily managed in an hour by rail, and there you are met by your host with a neat dog-cart, and good grey mare; being in light marching order, your kit is quickly stowed away by a smart-looking groom, and soon you find yourself tearing along at a spanking pace through the 'most Protestant' town of Bandon, where Mr. Hungerford pulls up for a moment to point out the spot where once the old gates stood, whereon was written the legend, 'Let no Papist enter here'. Years after, a priest in the dead of night added to it. He wrote:

Whoever wrote this, wrote it well

The same is written on the gates of Hell.

Then up the hill past Ballymoden Church, in through the gates of Castle Bernard, past Lord Bandon's beautiful old castle covered with exquisite ivy, out through a second gate, over the railway, a drive of twenty minutes in all, and so up to the gates of St. Brenda's. A private road of about half a mile long, hedged on either side by privet and hawthorn and golden furze, leads to the avenue proper, the entrance gate which is flanked by two handsome deodars. It takes a few minutes more to arrive at a large, square, ivy-clad house, and ere there is time to take in an idea of its gardens and surroundings, the great hall door is flung open, a little form trips down the stone steps, and almost before the horse has come to a standstill, Mrs. Hungerford gives you indeed the 'hearty Irish welcome' she promised.

It is now about four o'clock, and the day is growing dark. Your hostess draws you in hastily out of the cold, into a spacious hall lighted by a hanging Eastern lamp, and by two other lamps let into the wide circular staircase at the lower end of it. The drawing-room door is open, and a stream of ruddy light from half-a-dozen crimson shaded lamps, rushing out, seems to welcome you too. It is a large, handsome room, very lofty, and charmingly furnished, with a Persian carpet, tiny tables, low lounging chairs, innumerable knick-knacks of all kinds, ferns, winter flowers of every sort, screens and palms. A great fire of pine-logs is roaring up the chimney. The piano is draped with Bokhara plush, and everywhere the latest magazines, novels, and papers are scattered.

Mrs. Hungerford is a very tiny woman, but slight and well-proportioned. Her large hazel eyes, sparkling with fun and merriment, are shaded by thick, curly lashes. She has a small, determined mouth, and the chin slightly upturned, gives a piquante expression to the intelligent face—so bright and vivacious. Her hair is of a fair-brown colour, a little lighter than her eyelashes, and is piled up high on the top of her head, breaking away into natural curls over her brow. She is clad in an exquisite tea-gown of dark blue plush, with a soft, hanging, loose front of a lighter shade of silk. Some old lace ruffles finish off the wrists and throat, and she wears a pair of little high-heeled Louis quinze shoes, which display her small and pretty feet. She looks the embodiment of good temper, merry wit, and espièglerie.

It is difficult to realize that she is the mother of the six children who are grouped in the background. One lovely little fairy, 'Vera', ages three and a half, runs clinging up to her skirts, and peeps out shyly. Her delicate colouring suggests a bit of dainty Dresden china. Later on, you discover that this is actually the pet name by which she is known, being indeed quite famous here as a small beauty. 'Master Tom', a splendid roly-poly fellow, aged sixteen months is playing with a heap of toys on the rug near the fire and is carefully watched over by a young brother of five. The three other girls are charming little maidens. The eldest, though but in her early teens, is intellectual and studious; the second has a decided talent for painting, whilst the third, says her mother, laughing, 'is a consummate idler, but witty and clever'.

By and bye your hostess takes you into what she calls her 'den', for a long, undisturbed chat, and this room also bears the stamp of her taste and love of study. A big log fire burns merrily here, too, in the huge grate, and lights up a splendid old oak cabinet, reaching from floor to ceiling, which, with four more bookcases, seems literally crammed with dictionaries, books of reference, novels, and other light literature; but the picturesque is not wanting, and there are plenty of other decorations, such as paintings, flowers, and valuable old china to be seen. Here the clever little author passes three hours every morning. She is, as usual, over-full of work, sells as fast as she can write, and has at the present time more commissions than she can get through during the next few years. Everything is very orderly—each big or little bundle of MSS. is neatly tied together and duly labelled. She opens one drawer of a great knee-hole writing table, which discloses hundreds of half sheets of paper. 'Yes', she says, with a laugh; 'I scribble my notes on these: they are the backs of my friends' letters; how astonished many of them would be if they knew that the last half sheet they write me becomes on the spot a medium for the latest full-blown accounts of a murder, or a laugh, or a swindle, perhaps, more frequently, a flirtation! I am a bad sleeper', she adds, 'I think my brain is too active, for I always plan out my best scenes at night, and write them out in the morning without any trouble'. She finds, too, that driving has a curious effect upon her; the action of the air seems to stimulate her. She dislikes talking, or being talked to, when driving, but loves to think, and to watch the lovely variations of the world around her, and often comes home filled with fresh ideas, scenes, and conversations, which she scribbles down without even waiting to throw off her furs. Asking her how she goes to work about her plot, she answers with a reproachful little laugh—'That is unkind! You know I never have a plot really, not the bona fide plot one looks for in a novel. An idea comes to me, or I to it', she says, airily, 'a scene—a situation—a young man, a young woman, and on that mental hint I begin to build', but the question naturally arises, she must make a beginning? 'Indeed, no', she replies; 'it has frequently happened to me that I have written the last chapter first, and so, as it were, worked backwards'.

'Phyllis' was the young author's first work. It was written before she was nineteen, and was read by Mr. James Payn, who accepted it for Messrs. Smith Elder & Co.

Mrs. Hungerford is the daughter of the late Rev. Canon Hamilton, rector
and vicar choral of St. Faughnan's cathedral in Ross Carberry, co.
Cork, one of the oldest churches in Ireland. Her grandfather was John
Hamilton, of Vesington, Dunboyne, a property thirteen miles out of
Dublin. The family is very old, very distinguished, and came over from
Scotland to Ireland in the reign of James I.

Most of her family are in the army; but of literary talent, she remarks, it has but little to boast. Her principal works are Phyllis, Molly Bawn, Mrs. Geoffrey, Portia, Rossmoyne, Undercurrents, A Life's Remorse, A Born Coquette, A Conquering Heroine. She has written up to this time thirty-two novels, besides uncountable articles for home and American papers. In the latter country she enjoys an enormous popularity, and everything she writes is rapidly printed off. First sheets of the novels in hand are bought from her for American publications, months before there is any chance of their being completed. In Australia, too, her books are eagerly looked for, whilst every story she has ever written can be found in the Tauchnitz series.

She began to write when very young, at school taking always the prize in composition. As a mere child she could always keep other children spellbound whilst telling them fairy stories of her own invention. 'I remember', she says, turning round with a laugh, 'when I was about ten years old, writing a ghost story which so frightened myself, that when I went to bed that night, I couldn't sleep till I had tucked my head under the bedclothes'. 'This', she adds, 'I have always considered my chef d'oeuvre, as I don't believe I have ever succeeded in frightening anyone ever since'. At eighteen she gave herself up seriously, or rather, gaily, to literary work. All her books teem with wit and humor. One of her last creations, the delightful old butler, Murphy, in A Born Coquette, is equal to anything ever written by her compatriot, Charles Lever. Not that she has devoted herself entirely to mirth-moving situations. The delicacy of her love scenes, the lightness of touch that distinguishes her numerous flirtations can only be equalled by the pathos she has thrown into her work every now and then, as if to temper her brightness with a little shade. Her descriptions of scenery are specially vivid and delightful, and very often full of poetry. She is never didactic or goody-goody, neither does she revel in risky situations, nor give the world stories which, to quote the well-known saying of a popular playwright, 'no nice girl would allow her mother to read'.

Mrs. Hungerford married first when very young, but her husband died in less than six years, leaving her with three little girls. In 1883 she married Mr. Henry Hungerford. He also is Irish, and his father's place, Cahirmore, of about eleven thousand acres, lies nearly twenty miles to the west of Bandon. 'It may interest you', she says, 'to hear that my husband was at the same school as Mr. Rider Haggard. I remember when we were all much younger than we are now, the two boys came over for their holidays to Cahirmore, and one day in my old home "Milleen" we all went down to the kitchen to cast bullets. We little thought then that the quiet, shy schoolboy, was destined to be the author of "King Solomon's Mines"'.

Nothing less than a genius is Mrs. Hungerford at gardening. Her dress protected by a pretty holland apron, her hands encased in brown leather gloves, she digs and delves. Followed by many children, each armed with one of 'mother's own' implements—for she has her own little spade and hoe, and rake, and trowel, and fork—she plants her own seeds, and pricks her own seedlings, prunes, grafts, and watches with the deepest eagerness to see them grow. In springtime, her interest is alike divided between the opening buds of her daffodils, and the breaking of the eggs of the first little chickens, for she has a fine poultry yard too, and is very successful in her management of it. She is full of vitality, and is the pivot on which every member of the house turns. Blessed with an adoring husband, and healthy, handsome, obedient children, who come to her for everything and tell her anything, her life seems idyllic.

'Now and then', she remarks laughing, 'I really have great difficulty in securing two quiet hours for my work'; but everything is done in such method and order, the writing included, there is little wonder that so much is got through. It is a full, happy, complete life. 'I think', she adds, 'my one great dread and anxiety is a review. I never yet have got over my terror of it, and as each one arrives, I tremble and quake afresh ere reading'.

April's Lady is one of the author's lately published works. It is in the three volumes, and ran previously as a serial in Belgravia. Lady Patty, a society sketch drawn from life, has a most favourable reception from the critics and public alike, but in her last novel, very cleverly entitled Nor Wife Nor Maid, Mrs. Hungerford is to be seen, or rather read, at her best. This charming book, so full of pathos, so replete with tenderness, ran into a second edition in about ten days. In it the author has taken somewhat of a departure from her usual lively style. Here she has indeed given 'sorrow words'. The third volume is so especially powerful and dramatic, that it keeps the attention chained. The description indeed of poor Mary's grief and despair are hardly to be outdone. The plot contains a delicate situation, most delicately worked out. Not a word or suspicion of a word jars upon the reader. It is not however all gloom. There is in it a second pair of lovers who help to lift the clouds, and bring a smile to the lips of the reader.

Mrs. Hungerford does not often leave her pretty Irish home. What with her incessant literary work, her manifold domestic occupations, and the cares of her large family, she can seldom be induced to quit what she calls, 'an out and out country life', even to pay visits to her English friends. Mrs. Hungerford unhesitatingly declares that everything in the house seems wrong, and there is a howl of dismay from the children when the presiding genius even suggests a few days' leave of absence. Last year, however, she determined to go over London at the pressing invitation of a friend, in order to make the acquaintance of some of her distinguished brothers and sisters of the pen, and she speaks of how thoroughly she enjoyed that visit, with an eager delight. 'Everyone was so kind', she says, 'so flattering, far, far too flattering. They all seemed to have some pretty thing to say to me. I have felt a little spoilt ever since. However, I am going to try what a little more flattery will do for me, so Mr. Hungerford and I hope to accept, next Spring, a second invitation from the same friend, who wants us to go to a large ball she is going to give some time in May for some charitable institution—a Cottage Hospital I believe; but come', she adds, suddenly springing up, 'we have spent quite too much time over my stupid self. Come back to the drawing-room and the chicks, I am sure they must be wondering where we are, and the tea and the cakes are growing cold'.

At this moment the door opens, and her husband, gun in hand, with muddy boots and gaiters, nods to you from the threshold; he says he dare not enter the 'den' in this state, and hurries up to change before joining the tea table. 'He is a great athlete', says his wife, 'good at cricket, football, and hockey, and equally fond of shooting, fishing, and riding'. That he is a capital whip, you have already found out.

In the morning you see from the library window a flower garden and shrubbery, with rose trees galore, and after breakfast a stroll round the place is proposed. A brisk walk down the avenue first, and then back to the beech trees standing on the lawn, which slopes away from the house down to a river running at the bottom of a deep valley, up the long gravelled walk by the hall door, and you turn into a handsome walled kitchen garden, where fruit trees abound—apple and pear trees laden with fruit, a quarter of an acre of strawberry beds, and currant and raspberry bushes in plenty.

But time and tide, trains and steamers, wait to for no man, or woman either. A few hours later you regretfully bid adieu to the charming little author, and watch her until the bend of the road hides her from your sight. Mr. Hungerford sees you through the first stage of the journey, which is all accomplished satisfactorily, and you reach home to find that whilst you have been luxuriating in fresh sea and country air, London has been wrapped in four days of gloom and darkness."

Complement:

Helen C. BLACK, In memoriam The late Mrs. Hungerford from The
Englishwoman April 1897 pp. 102-105

"The sad news of the death of the popular and well-known author, Mrs. Hungerford, has caused a universal thrill of sorrow, no less to her many friends than to the large section of the reading public, in every part of the globe where the English tongue is spoken, who delight in her simple but bright and witty love-stories, so full of pathos, so replete with tenderness and human interest. The melancholy event took place on Sunday morning, the 24th January, after many weeks' illness from typhoid fever, and has deprived what the beloved little writer was wont to call 'a perfectly happy and idyllic Irish home' of its chiefest treasure.

The late Mrs. Hungerford came before the public at the early age of eighteen, when she made an immediate success with her first novel, Phyllis, which was read and accepted by Mr. James Payn, then reader for Messrs. Smith Elder & Co. Her natural bent towards literature had, however, manifested itself in childhood, when she took at school all the prizes in composition, and used to keep her playfellows enthralled by the stories and fairy-tales she invented and wrote for them. On leaving school she at once decided to adopt the pen as a profession, in which she has had so successful a career. The tone of Phyllis was so fresh and ingenuous that it soon found favour with the public, and was shortly followed by the far-famed Molly Bawn—a title which was peculiarly associated with her, inasmuch as it was the name by which many friends called her—and a long series, numbering over forty novels, besides countless short stories for home and American magazines, where, together with Australia and India, she enjoyed a vast popularity. In America everything she wrote was rapidly printed off, first sheets of novels in hand being bought from her for Transatlantic publications long before there was any chance of their being completed, while every story she ever wrote can be found in the Tauchnitz series. Among her earlier works are Portia, Mrs. Geoffrey, Airy Fairy Lilian, Rossmoyne, etc., which were followed as years rolled on, by Undercurrents, A Life's Remorse, A Born Coquette—where her creation of the delightful old butler, Murphy, is equal to anything ever written by her compatriot Charles Lever—, Nor Wife, nor Maid, The Professor's Experiment, etc. The latest work that she lived to see published is a collection of clever, crisp stories, entitled An Anxious Moment, which, with a strange and pathetic significance, terminates with a brief paper called 'How I Write my Novels'. Two posthumous works were left completed, bearing the names, respectively, of Lovice, just issued, and The Coming of Chloe, which will shortly be brought out.

Thoroughly wholesome in tone, bright and sparkling in style, the delicacy of here love-scenes and the lightness of touch that distinguishes her character sketches can only be equalled by the pathos, which every now and then she has thrown in, as if to temper her vivacity with a little shade. Here and there, as in the case of Nor Wife, nor Maid, she has struck a powerfully dramatic note, while her descriptions of scenery are especially vivid and delightful, and very often full of poetry.

The late Mrs. Hungerford was the daughter of the late Rev. Canon Hamilton, Rector and Vicar Choral of St. Faughman's Cathedral, Ross Carberry, co. Cork, one of the oldest churches in Ireland. Her grandfather was John Hamilton, of Vesington, Dunboyne, a property thirteen miles out of Dublin. The family is very old, very distinguished, and came over from Scotland to Ireland in the Reign of James I. She was first married when very young, but her husband died five and a half years later, leaving her with three little girls. In 1882, en secondes noces, she married Mr. Thomas Henry Hungerford, of St. Brenda's, Bandon, co. Cork, whose father's estate Cahirmore, of about eleven thousand acres, lies nearly twenty miles to the west of Bandon. By this most happy union, she has left three children—two sons and a daughter.

Thoroughly domestic in all her tastes, with a love of gardening, and a practical knowledge of all the details of country life, which tend to make the home so comfortable, her unfailing sweet temper, ready wit and espièglerie, her powers of sympathy and strong common sense, caused her to be the life and center of her large household. Tenderly attached to her husband and family, by all of whom she was adored, she used often to say, with joy and pride, 'They came to her for everything, and told her everything, and it was a union of perfect love, confidence, and peace'. In social life she numbered a large circle of friends, to whom she was deservedly endeared by her many engaging qualities; she possessed, indeed, a magnetism which drew all hearts towards her. But seldom could Mrs. Hungerford be induced to leave her picturesque Irish home, even to pay visits to her friends in England. Her manifold duties, the cares of a large family, and her incessant literary work filled up a life that was complete, useful, and congenial, and leaves behind an irreparable blank.

A brief description of the well-beloved little author and her pretty home will be interesting to those who knew her not, save through her works. She was a very tiny woman, but slight and well-proportioned, with baby hands and feet. The large hazel eyes, that sparkled with fun and merriment, were shaded by thick curly lashes; a small, determined mouth and slightly upturned chin gave a piquant expression to the intelligent face—so bright and vivacious. Her hair, of a fair brown colour, a little lighter than the eyelashes, was worn piled up on the top of her head, and broke away into natural curls over a broad and intellectual brow.

Driving up the hill, past Ballymoden Church, in through the gates of Castle Barnard, Lord Bandon's beautiful old place covered with ivy, out through a second gate and over the railway, the gates of St. Brenda are reached. A private road, about half a mile long, hedged on either side with privet, hawthorn and golden furze, leads to the avenue proper, the entrance gate of which is flanked by two handsome deodars. It takes a few minutes more to arrive at the large square ivy-clad house an grounds, where beech trees stand on the lawn sloping away down to a river running at the bottom of a deep valley. The long gravelled walk by the hall door turns into a handsome walled kitchen garden, where apple and pear trees abound, together with a quarter of an acre of strawberry beds, currant, gooseberry, and raspberry bushes in plenty. From the library window can be seen the flower garden and shrubbery and a large variety of rose trees. Close by is her own special plot where she delighted to work with her own little implements, spade, trowel, hoe, and rake, planting her seeds, pricking her seedlings, pruning, grafting, and watching with deepest eagerness to see them grow. In spring-time her interest was alike divided between the opening buds of her daffodils and the breaking of the eggs of the first little chickens in the fine poultry yard, in the management of which she was so successful. But among all these multifarious and healthy outdoor occupations in which she delighted, Mrs. Hungerford invariably secured three hours daily for her literary pursuits, when everything was done with such method and order, the writing included, that there was little wonder that she got through so much.

Her own writing-room bears the stamp of her taste and her love of study, where the big log-fire burned in the huge grate, and lighted up a splendid old oak cabinet that reaches from floor to ceiling, which, together with four other bookcases, are literally crammed to overflowing, while the picturesque is not wanting, as the many paintings, old china, ferns, plants and winter flowers can testify.

On the great knee-hole writing table lies the now silent pen where last she used it, with each big or little bundle of MSS. methodically labelled, and a long list of engagements for work, extending into future years, now, alas! destined to remain unfulfilled!

With so active a brain she was a bad sleeper, and always planned out her best schemes during the night, and wrote them out in the morning without difficulty. Driving, too, had a curious effect upon her; the action of the air seemed to stimulate her, and she disliked talking, or being talked to, when driving. She loved to think and to watch the lovely variations of the world around her, and would often come home filled with fresh ideas, scenes, and conversations, which she used to note down without even waiting to throw off her furs. If questioned how she went to work about a plot she would reply, with a reproachful little laugh, 'I never have a plot really, not the bona fide plot one looks for in a novel. An idea comes to me, or I to it—a scene, a situation, a young man or a young woman—and on that mental hint I begin to build, and it has frequently happened to me that I have written the last chapter first, and so, as it were, worked backwards'.

But in whatsoever form the gifted writer composed her novels the result was the same, and she will be widely mourned by the many, who in hours of sickness, of carking care or sorrow, owed a temporary respite from heavy thought, or the laugh that banishes ennui, to her ready pen—grave and gay by turns, but in every mood bewitching. During her long illness, with its constant relapses, its alternations of now hope, now despair, her patience and unselfishness were exhibited to a remarkable degree. Ever fearful to give trouble, hopeful and wishing to encourage the loved ones around her, she maintained a gentle cheerfulness and resignation, and finally passed away so peacefully that her sorrowing husband and children scarcely realised the moment when her spirit winged its flight to the better land, whence she, being dead, 'yet speaketh', for 'to live in hearts we leave behind is not to die'."

*** END OF THE PROJECT GUTENBERG EBOOK MRS. HUNGERFORD ***

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.