diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:07:05 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:07:05 -0700 |
| commit | 0f80b9a2b74bcb867336b6a407417b0a46767c26 (patch) | |
| tree | b98e5cda1e1703130d40aa20771577ed7dd0d903 | |
| -rw-r--r-- | .gitattributes | 3 | ||||
| -rw-r--r-- | 19989-8.txt | 1309 | ||||
| -rw-r--r-- | 19989-8.zip | bin | 0 -> 27123 bytes | |||
| -rw-r--r-- | 19989-h.zip | bin | 0 -> 69968 bytes | |||
| -rw-r--r-- | 19989-h/19989-h.htm | 1433 | ||||
| -rw-r--r-- | 19989-h/images/illus-em2.jpg | bin | 0 -> 4088 bytes | |||
| -rw-r--r-- | 19989-h/images/illus-emb.jpg | bin | 0 -> 1474 bytes | |||
| -rw-r--r-- | 19989-h/images/illus-fpc.jpg | bin | 0 -> 34245 bytes | |||
| -rw-r--r-- | 19989.txt | 1309 | ||||
| -rw-r--r-- | 19989.zip | bin | 0 -> 27106 bytes | |||
| -rw-r--r-- | LICENSE.txt | 11 | ||||
| -rw-r--r-- | README.md | 2 |
12 files changed, 4067 insertions, 0 deletions
diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/19989-8.txt b/19989-8.txt new file mode 100644 index 0000000..6f5be7a --- /dev/null +++ b/19989-8.txt @@ -0,0 +1,1309 @@ +The Project Gutenberg EBook of Story-Tell Lib, by Annie Trumbull Slosson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Story-Tell Lib + +Author: Annie Trumbull Slosson + +Release Date: December 1, 2006 [EBook #19989] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK STORY-TELL LIB *** + + + + +Produced by Roger Frank and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + +Story-Tell Lib + +----------------------------------------------------------------------- + +[Illustration] + +------------------------------------------------------------------------- + +Story-Tell Lib + +By +Annie Trumbull Slosson + +Author of "Fishin' Jimmy" + +CHARLES SCRIBNER'S SONS +NEW YORK . . . . . 1908 + +------------------------------------------------------------------------- + +_Copyright, 1900_ +BY CHARLES SCRIBNER'S SONS +_All rights reserved_ + +------------------------------------------------------------------------- + + CONTENTS + + PAGE + + I. STORY-TELL LIB 3 + II. THE SHET-UP POSY 13 + III. THE HORSE THAT B'LEEVED HE'D GET THERE 25 + IV. THE PLANT THAT LOST ITS BERRY 37 + V. THE STONY HEAD 47 + VI. DIFF'ENT KIND O' BUNDLES 57 + VII. THE BOY THAT WAS SCARET O' DYIN' 71 + +------------------------------------------------------------------------- + + + + +STORY-TELL LIB + +I + +Story-Tell Lib + + +That was what everybody in the little mountain village called her. Her +real name, as she often told me, ringing out each syllable proudly in +her shrill sweet voice, was Elizabeth Rowena Marietta York. A stately +name, indeed, for the little crippled, stunted, helpless creature, and I +myself could never think of her by any name but the one the village +people used, Story-tell Lib. I had heard of her for two or three summers +in my visits to Greenhills. The village folk had talked to me of the +little lame girl who told such pretty stories out of her own head, "kind +o' fables that learnt folks things, and helped 'em without bein' too +preachy." But I had no definite idea of what the child was till I saw +and heard her myself. She was about thirteen years of age, but very +small and fragile. She was lame, and could walk only with the aid of a +crutch. Indeed, she could but hobble painfully, a few steps at a time, +with that assistance. Her little white face was not an attractive one, +her features being sharp and pinched, and her eyes faded, dull, and +almost expressionless. Only the full, prominent, rounding brow spoke of +a mind out of the common. She was an orphan, and lived with her aunt, +Miss Jane York, in an old-fashioned farmhouse on the upper road. + +Miss Jane was a good woman. She kept the child neatly clothed and +comfortably fed, but I do not think she lavished many caresses or loving +words on little Lib, it was not her way, and the girl led a lonesome, +quiet, unchildlike life. Aunt Jane tried to teach her to read and write, +but, whether from the teacher's inability to impart knowledge, or from +some strange lack in the child's odd brain, Lib never learned the +lesson. She could not read a word, she did not even know her alphabet. I +cannot explain to myself or to you the one gift which gave her her +homely village name. She told stories. I listened to many of them, and I +took down from her lips several of these. They are, as you will see if +you read them, "kind o' fables," as the country folk said. They were all +simple little tales in the dialect of the hill country in which she +lived. But each held some lesson, suggested some truth, which, strangely +enough, the child herself did not seem to see; at least, she never +admitted that she saw or intended any hidden meaning. + +I often questioned her as to this after we became friends. After +listening to some tale in which I could discern just the lovely truth +which would best help some troubled soul in her audience, I have +questioned her as to its meaning. I can see now, in memory, the +short-sighted, expressionless eyes of faded blue which met mine as she +said, "Don't mean anything,--it don't. It's jest a story. Stories don't +have to mean things; they're stories, and I tells 'em." That was all she +would say, and the mystery remained. What did it mean? Whence came that +strange power of giving to the people who came to her something to help +and cheer, both help and cheer hidden in a simple little story? Was it, +as I like to think, God-given, a treasure sent from above? Or would you +rather think it an inheritance from some ancestor, a writer, a teller of +tales? Or perhaps you believe in the transmigration of souls, and think +that the spirit of some Ęsop of old, who spoke in parables, had entered +the frail crippled body of our little Lib, and spoke through her pinched +pale lips. I leave you your theories, I keep my own. + +But one thing which I find I have omitted thus far may seem to you to +throw a little light on this matter. It does not help me much. Lib was a +wonderful listener, as well as a narrator. Miss Jane sometimes took an +occasional boarder. Teachers, clergymen, learned professors, had from +time to time tarried under her roof. And while these talked to one +another, or to some visitor from neighboring hotels, little Lib would +sit motionless and silent by the hour. One would scarcely call it +listening; to listen seems too active a verb in this case. The girl's +face wore no eager look of interest, the faded, short-sighted eyes did +not light up with intelligence, nor the features quiver with varied +emotions. If she received ideas from what fell upon her ears, it must +have been by a sort of unconscious absorption. She took it in as the +earth does the rain or the flower the sunshine. And so it was with any +reading aloud from book or paper. She would sit, utterly quiet, while +the reader's voice went on, and nothing could draw her away till it was +ended. Question her later as to what was read or spoken of, and you +gained no satisfaction. If she had any idea of what she had heard, she +had not the power of putting it into words. "I like it. I like it lots," +she would say; that was all. + +Throughout the whole summer in which I knew the child, the summer which +came so quickly, so sadly, to an end, little Lib sat, on bright, fair +days, in a low wooden chair under the maples in front of the farmhouse. +And it had grown to be the custom of her many friends, both young and +old, to gather there, and listen to her stories, if she had any to tell. +I often joined the group of listeners. On many, many days, as the season +advanced, Lib had no words for us. She had always been a fragile, puny +little creature, and this year she seemed to grow weaker, thinner, more +waxen white, each day. She had a wonderful voice, shrill, far-reaching, +but strangely sweet and clear, with a certain vibrating, reedy, +bird-like quality, which even yet thrills me as I recall it. + +I am going to tell you a few of the little stories, pictures, fables, +parables, allegories,--I scarcely know what to call them,--which I heard +Story-tell Lib relate. The words are her own, but I cannot give you the +sweet tones, the quaint manner, the weird, strange personality, of the +little narrator. Let me say here that often the little parables seemed +meant to cheer and lift up Lib's own trembling soul, shut up in the +frail, crippled body. Meant, I say; perhaps that is not the right word. +For did she mean anything by these tales, at least consciously? Be that +as it may, certain of these little stories seemed to touch her own case +strangely. + + + + +The Shet-up Posy + +II + + +The first story I ever heard the child tell was one of those which +seemed to hold comfort and cheer for herself or for humble little souls +like her. It was a story of the closed gentian, the title of which she +announced, as she always did, loudly, and with an amusing little air of +self-satisfaction. + + +The Shet-up Posy + +Once there was a posy. 'T wa'n't a common kind o' posy, that blows out +wide open, so's everybody can see its outsides and its insides too. +But 't was one of them posies like what grows down the road, back o' your +pa's sugar-house, Danny, and don't come till way towards fall. They're +sort o' blue, but real dark, and they look 's if they was buds 'stead +o' posies,--only buds opens out, and these doesn't They're all shet up +close and tight, and they never, never, never opens. Never mind how much +sun they get, never mind how much rain or how much drouth, whether it's +cold or hot, them posies stay shet up tight, kind o' buddy, and not +finished and humly. But if you pick 'em open, real careful, with a +pin,--I've done it,--you find they're dreadful pretty inside. + +You couldn't see a posy that was finished off better, soft and nice, +with pretty little stripes painted on 'em, and all the little things +like threads in the middle, sech as the open posies has, standing up, +with little knots on their tops, oh, so pretty,--you never did! Makes +you think real hard, that does; leastways, makes me. What's they that +way for? If they ain't never goin' to open out, what's the use o' havin' +the shet-up part so slicked up and nice, with nobody never seem' it? +Folks has different names for 'em, dumb foxgloves, blind genshuns, and +all that, but I allers call 'em the shet-up posies. + +Well, 't was one o' that kind o' posy I was goin' to tell you about. +'Twas one o' the shet-uppest and the buddiest of all on 'em, all +blacky-blue and straight up and down, and shet up fast and tight. +Nobody'd ever dream't was pretty inside. And the funniest thing, it +didn't know 'twas so itself! It thought 'twas a mistake somehow, thought +it had oughter been a posy, and was begun for one, but wa'n't finished, +and 'twas terr'ble unhappy. It knew there was pretty posies all 'round +there, goldenrod and purple daisies and all; and their inside was the +right side, and they was proud of it, and held it open, and showed the +pretty lining, all soft and nice with the little fuzzy yeller threads +standin' up, with little balls on their tip ends. And the shet-up posy +felt real bad; not mean and hateful and begrudgin', you know, and +wantin' to take away the nice part from the other posies, but sorry, and +kind o' 'shamed. + +"Oh, deary me!" she says,--I most forgot to say 'twas a girl +posy,--"deary me, what a humly, skimpy, awk'ard thing I be! I ain't +more 'n half made; there ain't no nice, pretty lining inside o' me, like +them other posies; and on'y my wrong side shows, and that's jest plain +and common. I can't chirk up folks like the goldenrod and daisies does. +Nobody won't want to pick me and carry me home. I ain't no good to +anybody, and I never shall be." + +So she kep' on, thinkin' these dreadful sorry thinkin's, and most +wishin' she'd never been made at all. You know 't wa'n't jest at fust +she felt this way. Fust she thought she was a bud, like lots o' buds all +'round her, and she lotted on openin' like they did. But when the days +kep' passin' by, and all the other buds opened out, and showed how +pretty they was, and she didn't open, why, then she got terr'ble +discouraged; and I don't wonder a mite. + +She'd see the dew a-layin' soft and cool on the other posies' faces, and +the sun a-shinin' warm on 'em as they held 'em up, and sometimes she'd +see a butterfly come down and light on 'em real soft, and kind o' put +his head down to 'em, 's if he was kissin' 'em, and she thought 'twould +be powerful nice to hold her face up to all them pleasant things. But +she couldn't. + +But one day, afore she'd got very old, 'fore she'd dried up or fell +off, or anything like that, she see somebody comin' along her way. 'Twas +a man, and he was lookin' at all the posies real hard and partic'lar, +but he wasn't pickin' any of 'em. Seems 's if he was lookin' for +somethin' diff'rent from what he see, and the poor little shet-up posy +begun to wonder what he was arter. Bimeby she braced up, and she asked +him about it in her shet-up, whisp'rin' voice. And says he, the man +says: "I'm a-pickin' posies. That's what I work at most o' the time. 'T +ain't for myself," he says, "but the one I work for. I'm on'y his help. +I run errands and do chores for him, and it's a partic'lar kind o' posy +he's sent me for to-day." "What for does he want 'em?" says the shet-up +posy. "Why, to set out in his gardin," the man says. "He's got the +beautif'lest gardin you never see, and I pick posies for 't." "Deary +me," thinks she to herself, "I jest wish he'd pick me. But I ain't the +kind, I know." And then she says, so soft he can't hardly hear her, +"What sort o' posies is it you're arter this time?" "Well," says the +man, "it's a dreadful sing'lar order I've got to-day. I got to find a +posy that's handsomer inside than 't is outside, one that folks ain't +took no notice of here, 'cause 'twas kind o' humly and queer to look at, +not knowin' that inside 'twas as handsome as any posy on the airth. Seen +any o' that kind?" says the man. + +Well, the shet-up posy was dreadful worked up. "Deary dear!" she says to +herself, "now if they'd on'y finished me off inside! I'm the right kind +outside, humly and queer enough, but there's nothin' worth lookin' at +inside,--I'm certin sure o' that." But she didn't say this nor anything +else out loud, and bimeby, when the man had waited, and didn't get any +answer, he begun to look at the shet-up posy more partic'lar, to see why +she was so mum. And all of a suddent he says, the man did, "Looks to +me's if you was somethin' that kind yourself, ain't ye?" "Oh, no, no, +no!" whispers the shet-up posy. "I wish I was, I wish I was. I'm all +right outside, humly and awk'ard, queer's I can be, but I ain't pretty +inside,--oh! I most know I ain't." "I ain't so sure o' that myself," +says the man, "but I can tell in a jiffy." "Will you have to pick me to +pieces?" says the shet-up posy. "No, ma'am," says the man; "I've got a +way o' tellin', the one I work for showed me." The shet-up posy never +knowed what he done to her. I don't know myself, but 'twas somethin' +soft and pleasant, that didn't hurt a mite, and then the man he says, +"Well, well, well!" That's all he said, but he took her up real gentle, +and begun to carry her away. "Where be ye takin' me?" says the shet-up +posy. "Where ye belong," says the man; "to the gardin o' the one I work +for," he says. "I didn't know I was nice enough inside," says the +shet-up posy, very soft and still. "They most gen'ally don't," says the +man. + + + + +The Horse that B'leeved he'd Get there + +III + + +Among those who sometimes came to listen to little Lib's allegories was +Mary Ann Sherman, a tall, dark, gloomy woman of whom I had heard much. +She was the daughter of old Deacon Sherman, a native of the village, who +had, some years before I came to Greenhills, died by his own hand, after +suffering many years from a sort of religious melancholia. Whether the +trouble was hereditary and his daughter was born with a tendency +inherited from her father, or whether she was influenced by what she +had heard of his life, and death, I do not know. But she was a dreary +creature with never a smile or a hopeful look upon her dark face. +Nothing to her was right or good; this world was a desert, her friends +had all left her, strangers looked coldly upon her. As for the future, +there was nothing to look forward to in this world or the next. As Dave +Moony, the village cynic, said, "Mary Ann wa'n't proud or set up about +nothin' but bein' the darter of a man that had c'mitted the onpar'nable +sin." Poor woman! her eyes were blinded to all the beauty and brightness +of this world, to the hope and love and joy of the next. What wonder +that one day, as she paused in passing the little group gathered around +Lib, and the child began the little story I give below, I thought it +well fitted to the gloomy woman's case! + + +The Horse that B'leeved he'd Get there + +You've seen them thrashin' machines they're usin' round here. The sort, +you know, where the horses keep steppin' up a board thing 's if they was +climbin' up-hill or goin' up a pair o' stairs, only they don't never get +along a mite; they keep right in the same place all the time, steppin' +and steppin', but never gittin' on. + +Well, I knew a horse once, that worked on one o' them things. His name +was Jack, and he was a nice horse. First time they put him on to thrash, +he didn't know what the machine was, and he walked along and up the +boards quick and lively, and he didn't see why he didn't get on faster. +There was a horse side of him named Billy, a kind o' frettin', cross +feller, and he see through it right off. + +"Don't you go along," he says to Jack; "'t ain't no use; you won't never +get on, they're foolin' us, and I won't give in to 'em." So Billy he +hung back and shook his head, and tried to get away, and to kick, and +the man whipped him, and hollered at him. But Jack, he went on quiet and +quick and pleasant, steppin' away, and he says softly to Billy, "Come +along," he says; "it's all right, we'll be there bimeby. Don't you see +how I'm gittin' on a'ready?" And that was the ways things went every +day. + +Jack never gin up; he climbed and climbed, and walked and walked, jest's +if he see the place he was goin' to, and 's if it got nearer and nearer. +And every night, when they took him off, he was as pleased with his +day's journey 's if he'd gone twenty mile. "I've done first-rate +to-day," he says to cross, kickin' Billy. "The roads was good, and I +never picked up a stone nor dropped a shoe, and I got on a long piece. +I'll be there pretty soon," says he. "Why," says Billy, "what a foolish +fellow you be! You've been in the same place all day, and ain't got on +one mite. What do you mean by _there_? Where is it you think you're +goin', anyway?" + +"Well, I don't 'zackly know," says Jack, "but I'm gittin' there real +spry. I 'most see it one time to-day." He didn't mind Billy's laughin' +at him, and tryin' to keep him from bein' sat'sfied. He jest went on +tryin' and tryin' to get there, and hopin' and believin' he would after +a spell. He was always peart and comfortable, took his work real easy, +relished his victuals and drink, and slept first rate nights. But Billy +he fretted and scolded and kicked and bit, and that made him hot and +tired, and got him whipped, and hollered at, and pulled, and yanked. You +see, he hadn't got anything in his mind to chirk him up, for he didn't +believe anything good was comin', as Jack did; he 'most knowed it +wasn't, but Jack 'most knowed it was. And Jack took notice of things +that Billy never see at all. He see the trees a-growin', and heered the +birds a-singin', and Injun Brook a-gugglin' along over the stones, and +he watched the butterflies a-flyin', and sometimes a big yeller 'n black +one would light right on his back. Jack took notice of 'em all, and he'd +say, "I'm gettin' along now, certin sure, for there's birds and posies +and flyin' things here I never see back along. I guess I'm most there." +"'There, there!'" Billy'd say. "Where is it, anyway? I ain't never seen +any o' them posies and creaturs you talk about, and I'm right side of +you on these old boards the whole time." + +And all the children round there liked Jack. They'd watch the two horses +workin', and they see Billy all cross and skittish, holdin' back and +shakin' his head and tryin' to kick, never takin' no notice o' them nor +anything. And, again, they see Jack steppin' along peart and spry, +pleasant and willin', turnin' his head when they come up to him, and +lookin' friendly at 'em out of his kind brown eyes, and they'd say, the +boys and girls would, "Good Jack! nice old Jack!" and they'd pat him, +and give him an apple, or a carrot, or suthin' good. But they didn't +give Billy any. They didn't like his ways, and they was 'most afraid +he'd bite their fingers. And Jack would say, come evenin', "It's gittin' +nicer and nicer we get further on the road,--ain't it? Folks is +pleasanter speakin', and the victuals 'pears better flavored, and +things is comfortabler every way, seems 's if, and I jedge by that we're +'most there." But Billy'd say, a-grumblin' away, "It's worse'n +worse,--young ones a-botherin' my life out o' me, and the birds +a-jabberin' and the posies a-smellin' till my head aches. Oh, deary me! +I'm 'most dead." So 't went on and kep' on. Jack had every mite as hard +work as Billy, but he didn't mind it, he was so full o' what was comin' +and how good 't would be to get there. And 'cause he was pleasant and +willin' and worked so good, and 'cause he took notice o' all the nice +things round him, and see new ones every day, he was treated real kind, +and never got tired and used up and low in his mind like Billy. Even the +flies didn't pester him's they done Billy, for he on'y said, when he +felt 'em bitin' and crawlin', "Dog-days is come," says he, "for here's +the flies worse and worse. So the summer's most over, and I'll get there +in a jiffy now." + +"What am I stoppin' for," do you say, 'Miry? 'Cause that's all. You +needn't make sech a fuss, child'en. It's done, this story is, I tell ye. +Leastways I don't know any more on it. I told you all about them two +horses, and which had a good time and which didn't, and what 'twas made +the differ'nce 'twixt 'em. But you want to know whether Jack got there. +Well, I don't know no more 'n the horses did what _there_ was, but in my +own mind I b'leeve he got it. Mebbe 't was jest dyin' peaceful and quiet, +and restin' after all that steppin' and climbin'. He'd a-liked that, +partic'lar when he knowed the folks was sorry to have him go, and would +allus rec'lect him. Mebbe 't was jest livin' on and on, int'rested and +enjoyin', and liked by folks, and then bein' took away from the hard +work and put out to pastur' for the rest o' his days. Mebbe 'twas--Oh! I +d'know. Might 'a' been lots o' things, but I feel pretty certin sure he +got it, and he was glad he hadn't gi'n up b'leevin' 't would come. For +you 'member, all the time when Billy 'most knowed it wasn't, Jack 'most +knowed 'twas. + + + + +The Plant that Lost its Berry + +IV + + +It was a sad day in Greenhills when we knew that Susan Holcomb's little +Jerusha was dead. We all loved the child, and she was her mother's +dearest treasure. Susan was a widow, and this was her only child. A +pretty little creature she was, with yellow curls and dark-blue eyes, +rosy and plump and sturdy. But a sudden, sharp attack of croup seized +the child, and in a few hours she fell asleep. I need not tell you of +the mother's grief. She could not be comforted because her child was +not. One day a little neighbor, a boy with great faith--not wholly +misplaced--in the helpfulness of Story-tell Lib's little parables, +succeeded, with a child's art, in bringing the sad mother to the group +of listeners. And it was that day that Lib told this new story. + + +The Plant that Lost its Berry + +Once there was a plant, and it had jest one little berry. And the berry +was real pretty to look at. It was sort o' blue, with a kind o' whitey, +foggy look all over the blue, and it wa'n't round like huckleberries and +cramb'ries, but longish, and a little p'inted to each end. And the stem +it growed on, the little bit of a stem, you know, comin' out o' the +plant's big stem, like a little neck to the berry, was pinky and real +pretty. And this berry didn't have a lot o' teenty little seeds inside +on it, like most berries, but it jest had one pretty white stone in it, +with raised up streaks on it. + +The plant set everything by her little berry. She thought there never +was in all the airth sech a beautiful berry as hern,--so pretty shaped +and so whitey blue, with sech a soft skin and pinky neck, and more +partic'lar with that nice, white, striped stone inside of it. She held +it all day and all night tight and fast. When it rained real hard, and +the wind blowed, she kind o' stretched out some of her leaves, and +covered her little berry up, and she done the same when the sun was too +hot. And the berry growed and growed, and was so fat and smooth and +pretty! And the plant was jest wropped up in her little berry, lovin' it +terr'ble hard, and bein' dreadful proud on it, too. + +Well, one day, real suddent, when the plant wasn't thinkin' of any storm +comin', a little wind riz up. 'T wa'n't a gale, 't wa'n't half as hard a +blow as the berry'd seen lots o' times and never got hurt nor nothin'. +And the plant wa'n't lookin' out for any danger, when all of a suddent +there come a little bit of a snap, and the slimsy little pink stem +broke, and the little berry fell and rolled away, and, 'fore you could +say "Jack Robinson," 't was clean gone out o' sight. I can't begin to +tell ye how that plant took on. Seem 's if she'd die, or go ravin' +crazy. It's only folks that has lost jest what they set most by on airth +that can understand about it, I s'pose. She wouldn't b'leeve it fust +off; she 'most knowed she'd wake up and feel her little berry a-holdin' +close to her, hangin' on her, snugglin' up to her under the shady +leaves. The other plants 'round there tried to chirk her up and help +her. One on 'em told her how it had lost all its little berries itself, +a long spell back, and how it had some ways stood it and got over it. +"But they wa'n't like mine," thinks the poor plant. "There never, never +was no berry like mine, with its pretty figger, its pinky, slim little +neck, and its soft, smooth-feelin' skin." And another plant told her +mebbe her berry was saved from growin' up a trouble to her, gettin' bad +and hard, with mebbe a worm inside on it, to make her ashamed and sorry. +"Oh, no, no!" thinks the mother plant. "My berry'd never got bad and +hard, and I'd 'a' kep' any worm from touchin' its little white heart." +Not a single thing the plant-folks said to her done a mite o' good. +Their talk only worried her and pestered her, when she jest wanted to be +let alone, so's she could think about her little berry all to herself. + +Just where the berry used to hang, and where the little pinky stem broke +off, there was a sore place, a sort o' scar, that ached and smarted all +day and all night, and never, never healed up. And bimeby the poor plant +got all wore out with the achin' and the mournin' and the missin' and +she 'peared to feel her heart all a-dryin' up and stoppin', and her +leaves turned yeller and wrinkled, and--she was dead. She couldn't live +on, ye see, without her little berry. + +They called it bein' dead, folks did, and it looked like it, for there +she lay without a sign of life for a long, long, long spell. 'Twas for +days and weeks and months anyway. But it didn't seem so long to the +mother plant. She shet up her eyes, feelin' powerful tired and lonesome, +and the next thing she knowed she opened 'em again, and she was wide +awoke. She hardly knowed herself, though, she was so fresh and juicy and +'live, so kind o' young every way. Fust off she didn't think o' anything +but that, how good and well she felt, and how beautiful things was all +'round her. Then all of a suddent she rec'lected her little berry, and +she says to herself, "Oh, dear, dear me! If only my own little berry +was here to see me now, and know how I feel!" She thought she said it to +herself, but mebbe she talked out loud, for, jest as she said it, +somebody answered her. 'T was a Angel, and he says, "Why your little +berry does see you,--look there." And she looked, and she see he was +p'intin' to the beautif'lest little plant you never see,--straight and +nice, with little bits o' soft green leaves, with the sun a-shinin' +through 'em, and,--well, somehow, you never can get it through your head +how mothers take in things,--she knowed cert'in sure that was her little +berry. + +The Angel begun to speak. He was goin' to explain how, if she hadn't +never lost her berry, 'twouldn't never 'a' growed into this pretty +plant, but, he see, all of a suddent, that he needn't take the trouble. +She showed in her face she knowed all about it,--every blessed thing. I +tell ye, even angels ain't much use explainin' when there's mothers, and +it's got to do with their own child'en. Yes, the mother plant see it +all, without tellin'. She was jest a mite 'shamed but she was terr'ble +pleased. + + + + +The Stony Head + +V + + +When little Lib told the story I give below, Deacon Zenas Welcome was +one of the listeners. The deacon was a son of old Elder Welcome who had +been many years before the pastor of the little church in a neighboring +village. Elder Welcome was one of the old-fashioned sort not so common +in these days, a good man, but stern and somewhat harsh. He preached +only the terrors of the law, dwelt much upon the doctrines, the decrees, +election, predestination, and eternal punishment, and rarely lingered +over such themes as the fatherhood of God, his love to mankind, and his +wonderful gift to a lost world. The son followed in his father's +footsteps. He was a hard, austere, melancholy man, undemonstrative and +reticent, shutting out all brightness from his own life, and clouding +many an existence going on around him. I have always thought that his +unwonted presence among us that day had a purpose, and that he had come +to spy out some taint of heterodoxy in Lib's tales, to reprove and +condemn. He went away quietly, however, when the story was ended, and we +heard nothing of reproof or condemnation. + + +The Stony Head + +Once there was somethin' way up on the side of a mountain that looked +like a man's head. The rocks up there'd got fixed so's they jest made a +great big head and face, and everybody could see it as plain as could +be. Folks called it the Stony Head, and they come to see it from miles +away. There was a man lived round there jest where he could see the +head from his winder. He was a man that things had gone wrong with all +along; he'd had lots o' trouble, and he didn't take it very easy. He +fretted and complained, and blamed it on other folks, and more +partic'lar on--God. And one day--he'd jest come to live in them +parts--he looked out of his winder, and he see, standin' out plain ag'in +the sky, he see that Stony Head. It looked real ha'sh and hard and stony +and dark, and all of a suddent the man thought it was--God. + +"Yes," he says to hisself, "that's jest the way I 'most knowed he +looked, ha'sh and hard and stony and dark, and that's him." The man was +dreadful scaret of it, but some ways he couldn't stop lookin' at it. And +bimeby he shet hisself up there all alone, and spent his whole time jest +a-lookin' at that hard, stony face, and thinkin' who't was, and who'd +brought all his trouble on him. There was poor folks all 'round that +deestrict, but he never done nothin' to help 'em; let 'em be hungry or +thirsty or ailin', or shet up in jail, or anything, he never helped 'em +or done a thing for 'em, 'cause he was a-lookin' every single minute at +that head, and seein' how stony and hard it was, and bein' scaret of it +and the One he thought it looked like. + +Folks that was in trouble come along and knocked at his door, and he +never opened it a mite, even to see who was there. Sheep and lambs that +had got lost come a-strayin' into his yard, but he never took 'em in, +nor showed 'em the way home. He wa'n't no good to nobody, not even to +hisself, for he was terr'ble unhappy and scaret and angry. So 't went on, +oh! I d'know how long, years and years, I guess likely, and there the +man was shet up all alone, lookin' and lookin', and scaret at lookin' at +that ha'sh, hard, stony face and head. But one day, as he was settin' +there by the winder lookin', he heerd a little sound. I d'know what made +him hear it jest then. There'd been sech sounds as that time and time +ag'in, and he never took no notice. 'Twas like a child a-cryin', and +that's common enough. + +But this time it seemed diff'ent, and he couldn't help takin' notice. He +tried not to hear it, but he had to. 'T was a little child a-cryin' as +if it had lost its way and was scaret, and the man found he couldn't +stand it somehow. Mebbe the reason was he'd had a little boy of his own +once, and he lost him. Now I think on 't, that was one o' the things he +blamed on God, and thought about when he looked at the Stone Head. +Anyway, he couldn't stand this cryin' that time, and he started up, and, +fust thing he knowed, he'd opened the door and gone out. He hadn't been +out in the sunshine and the air for a long spell, and it made his head +swimmy at fust. But he heerd the little cryin' ag'in, and he run along +on to find the child. But he couldn't find it; every time he'd think he +was close to it, he'd hear the cryin' a little further off. And he'd go +on and on, a-stumblin' over stones and fallin' over logs and a-steppin' +into holes, but stickin' to it, and forgettin' everything only that +little cryin' voice ahead of him. Seems 's if he jest must find that +little lost boy or girl, 's if he'd be more 'n willin' to give up his own +poor lonesome old life to save that child. And, jest 's he come to +thinkin' that, he see somethin' ahead of him movin' and in a minute he +knowed he'd found the lost child. + +'Fore he thought what he was a-doin', he got down on his knees jest's he +used to do 'fore he got angry at God, and was goin' to thank him for +helpin' him to save that child. Then he rec'lected. It come back to him +who God was, and how he'd seed his head, with the ha'sh stony face up on +the mountain, and that made him look up to see it ag'in. + +And oh! what do you think he see? There was the same head up there,--he +couldn't make a mistake about that,--but the face, oh! the face was so +diff'ent. It wasn't ha'sh nor hard nor dark any more. There was such a +lovin', beautiful, kind sort o' look on it now. Some ways it made the +man think a mite of the way his father, that had died ever so long ago, +used to look at him when he was a boy, and had been bad, and then was +sorry and 'shamed. Oh, 't was the beautif'lest face you never see! "Oh! +what ever does it mean?" says the man out loud. "What's changed that +face so? Oh! what in the world's made it so diff'ent?" And jest that +minute a Angel come up close to him. 'T was a little young Angel, and I +guess mebbe 't was what he'd took for a lost child, and that he'd been +follerin' so fur. And the Angel says, "The face ain't changed a mite. +'Twas jest like that all the time, only you're lookin' at it from a +diff'ent p'int." And 'twas so, and he see it right off. He'd been +follerin' that cryin' so fur and so long that he'd got into a diff'ent +section o' country, and he'd got a diff'ent view, oh! a terr'ble +diff'ent view, and he never went back. + + + + +Diff'ent Kind o' Bundles + +VI + + +Everybody in Greenhills knew "Stoopin' Jacob," the little humpbacked boy +who lived at the north end of the village. From babyhood he had suffered +from a grievous deformity which rounded his little shoulders and bowed +the frail form. It was characteristic of the kindly folk of the +neighborhood, that, instead of calling the boy Hump-backed or +Crooked-backed Jacob, they gave him the name of Stoopin' Jacob, as if +the bowed and bent posture was voluntary, and not enforced. + +A lovely soul dwelt in that crooked, pain-racked body, and looked out +of the gentle brown eyes shining in the pale, thin little face. Every +one loved the boy, most of all the dogs, cats, horses, cows of the +little farms, the birds and animals of forest and brookside. He knew +them all, and they knew, loved, and trusted him. The tinier creatures, +such as butterflies, bees, ants, beetles, even caterpillars, downy or +smooth, were his friends, or seemed so. He knew them, watched them, +studied their habits, and was the little naturalist of Greenhills +village, consulted by all, even by older and wiser people. + +A close friendship existed between the boy and Story-tell Lib, and we +all understood the tale she told us one day when Stoopin' Jacob was one +of the listeners. + + +Diff'ent Kind o' Bundles + +Once there was a lot o' folks, and every single one on 'em had bundles +on their backs. But they was all diff'ent, oh! jest as diff'ent as--as +anything, the bundles was. And these folks all b'longed to one person, +that they called the Head Man. They was his folks, and nobody else's, +and he had the whole say, and could do anything he wanted to. But he was +real nice, and always done jest the best thing,--yes, sir, the bestest +thing, whatever folks might say against it. + +Well, I was tellin' ye about how these folks had diff'ent kind o' +bundles on their backs. 'Twas this way. One on 'em was a man that had a +real hefty bundle on his back, that he'd put on there hisself,--not all +to onct, but a mite to time, for years 'n' years. 'Twas a real cur'us +bundle, made up out o' little things in the road that'd got in his way, +or hurt him, or put him back. Some on 'em was jest little stones that +had hurt his feet, and some was little stingin' weeds that smarted him +as he went by 'em, and some was jest mites o' dirt somebody'd throwed at +him, not meanin' no great o' harm. He'd picked 'em all up, every bit o' +worryin', prickin', hurtin' little thing, and he'd piled 'em up on his +back till he had a big bundle that he allers carried about and never +forgot for a minute. + +He was f'rever lookin' out for sech troublin' things, too, and he'd see +'em way ahead on him in his road, and sometimes he'd think he see 'em +when there wa'n't any there't all. And, 'stead o' lettin' 'em lay where +they was, and goin' right ahead and forgettin' 'em, he'd pick every +single one on 'em up and pile 'em on that bundle, and carry 'em wherever +he went. + +And he was allers talkin' about 'em to folks, p'intin' out that little +stone that he'd stubbed his toe on, and this pesky weed that stung him, +and t'other little mite o' mud he'd conceited somebody'd throwed at him. +He fretted and scolded and complained 'bout 'em, and made out that +nobody never had so many tryin' things gettin' in his way as he had. He +never took into 'count, ye see, that he'd picked 'em up hisself and +piled 'em on his own back. If he'd jest let 'em lay, and gone along, +he'd 'a' forgot 'em all, I guess, after a spell. + +Then there was another man with a bundle, a cur'us one too, for 't was +all made out o' money, dreadful heavy and cold and hard to carry. Every +speck o' money he could scrape together he'd put in that bundle, till he +couldn't scursely heft it, 'twas that big and weighed so much. He had +plenty o' chances to make it lighter, for there was folks all along the +road that needed it bad,--little child'en that hadn't no clo'es nor no +victuals, and sick folks and old folks, every one on 'em needin' money +dreadful bad. But the man never gin 'em a mite. He kep' it all on his +back, a-hurtin' and weighin' him down. + +Then ag'in there was another man. He had a bundle that he didn't put on +his back hisself, nor the Head Man didn't nuther. Folks did it to him. +He hadn't done nothin' to deserve it, 't was jest put on him by other +people, and so 't was powerful hard to bear. But, ye see, the Head Man +had pervided partic'lar for them kind, and he'd said in public, so 't +everybody knowed about it, that he'd help folks like that,--said he'd +help 'em carry sech bundles hisself, or mebbe take 'em off, if it +'peared to be best. + +But this man disremembered that,--or, worse still, p'r'aps he didn't +'zackly believe it. So he went along all scrunched down with that hefty +bundle other folks had piled up on him, not scoldin' nor complainin' +nor gittin' mad about it, but jest thinkin' it had got to be, and nobody +could help him. But ye see it hadn't got to be, and somebody could 'a' +helped him. + +And then bimeby along come a man that had sech a hefty, hefty bundle! +'Twas right 'tween his shoulders, and it sort o' scrooched him down, and +it hurt him in his back and in his feelin's. The Head Man had put that +bundle on the man hisself when he was a little bit of a feller. He'd +made it out o' flesh and skin and things. It was jest ezackly like the +man's body, so 't when it ached he ached hisself. And he'd had to carry +that thing about all his born days. + +I don't know why the Head Man done it, I'm sure, but I know how good and +pleasant he was, and how he liked his folks and meant well to 'em, and +how he knowed jest what oughter be and what hadn't oughter be, so 't +stands to reason he'd done this thing a-purpose, and not careless like, +and he hadn't made no mistake. + +I've guessed a lot o' reasons why he done it. Mebbe he see the man +wouldn't 'a' done so well without the bundle,--might 'a' run off, 'way, +'way off from the Head Man and the work he had to do. Or, ag'in, p'r'aps +he wanted to make a 'zample of the man, and show folks how patient and +nice a body could be, even though he had a big, hefty bundle to carry +all his born days, one made out o' flesh and skin and things, and that +hurt dreadful. + +But my other guess is the one I b'leeve in most,--that the Head Man done +it to scrooch him down, so's he'd take notice o' little teenty things, +down below, that most folks never see, things that needed him to watch +'em, and do for 'em, and tell about 'em. That's my fav'rite guess. 'Tany +rate, the Head Man done right,--I'm cert'in sure o' that. + +And it _had_ made the man nicer, and pleasanter spoken, and kinder to +folks, and partic'lar to creaturs. It had made him sort o' bend down, +'twas so hefty, and so he'd got to takin' notice o' teenty little things +nobody else scursely'd see,--mites o' posies, and cunnin' little bugs, +and creepin', crawlin' things. He took a heap o' comfort in 'em. And he +told other folks 'bout them little things and their little ways, and +what they was made for, and things they could learn us; and 'twas real +int'restin', and done folks good too. + +And, deary me, he was that patient and good and uncomplainin', you never +see! No, I ain't a-cryin'. This was a stranger, this man, you know, and +I make a p'int o' never cryin' about strangers. + +There was a lot and a lot more kinds o' folks with bundles, but I'm only +goin' to tell ye about them four,--this time, any way. + +Well, come pay day, these folks all come up afore the Head Man to be +settled with. And fust he called up the man that had the bundle all made +out o' things that had pricked him, and tripped him up, and scratched +him, and put him back on the road. And then he had up the man with the +money weighin' him down,--the money he'd kep' away from poor folks and +piled up on his own back. And then come the feller that was carryin' the +heavy bundle folks had put on him when 't wa'n't no fault o' his'n, and +that he might 'a' got red of a long spell back, if he'd only rec'lected +what the Head Man had said 'bout sech cases, and how they could be +helped. + +I ain't a-goin' to tell ye what he said to them folks, 'cause 't ain't +my business, seems to me. Whether he punished either on 'em, or scolded +'em, or sent 'em off to try ag'in, or what all, never mind. Knowin' 's +much as I do about the ways o' that Head Man, I bet he made 'em feel +terrible ashamed, any way. + +But when he came to the man with the bundle made out o' flesh and skin +and things, he looks at him a minute, and then says he, the Head Man +does, "Why," he says, "that's my own work! I made that bundle, and I +fixed it on your back all myself. I hefted and I sized it, and I hefted +you and sized you. A mite of a young one you was then. I made it jest +hefty enough for you to carry, not a bit heftier, no more nor less. I +rec'lect it well," he says. "I ain't forgot it. I never forgot it one +minute sence I fitted in on, though mebbe you kind o' thought by spells +that I had. And now," he says--No, I can't tell ye what he says. It's a +secret, that is. But I don't mind lettin' ye know that the man was +sat'sfied, perfec'ly sat'sfied. A Angel told me he was, and went on to +say the man was dreadful pleased to find he'd been wearin' a bundle the +Head Man hisself had made and fixed on him, heftin' it and sizin' it, +and heftin' him and sizin' him too, so's 'twa'n't too much for him to +carry. But he ain't carryin' it no more. The Angel said so. + + + + +The Boy that was Scaret o' Dyin' + +VII + + +I have told you that little Lib was a delicate child, and that she grew +more and more fragile and weak as the summer went on. In the hot, dry +days of August she drooped like a thirsty flower, and her strength +failed very fast. Her voice, though still sweet and clear, lost its +shrillness, and one had to draw very close to the little speaker that he +might not lose a word of the stories she told. Aunt Jane York often came +out to us now, anxious and fussy, talking fretfully of and to little +Lib, feeling the small hands and feet to see if they were cold, and +drawing the shawl closer around the wasted form. I know she loved the +little girl, and perhaps she wished now that she had shown that love +more tenderly. She talked freely, in the very presence of the child, of +her rapid decline and the probability that she would not "last long." +Lib said nothing concerning her own condition, and showed no sign of +having heard her aunt's comments. But one day, when Miss York, after +speaking very freely and plainly of the child's approaching end, had +gone indoors, Lib announced, in a low, sweet voice, a new story. + + +The Boy that was Scaret o' Dyin' + +Once there was a boy that was dreadful scaret o' dyin'. Some folks is +that way, you know; they ain't never done it to know how it feels, and +they're scaret. And this boy was that way. He wa'n't very rugged, his +health was sort o' slim, and mebbe that made him think about sech things +more. 'Tany rate, he was terr'ble scaret o' dyin'. 'Twas a long time +ago this was,--the times when posies and creaturs could talk so's folks +could know what they was sayin'. + +And one day, as this boy, his name was Reuben,--I forget his other +name,--as Reuben was settin' under a tree, an ellum tree, cryin', he +heerd a little, little bit of a voice,--not squeaky, you know, but small +and thin and soft like,--and he see 'twas a posy talkin'. 'Twas one o' +them posies they call Benjamins, with three-cornered whitey blowths with +a mite o' pink on 'em, and it talked in a kind o' pinky-white voice, and +it says, "What you cryin' for, Reuben?" And he says, "'Cause I'm scaret +o' dyin'," says he; "I'm dreadful scaret o' dyin'." Well, what do you +think? That posy jest laughed,--the most cur'us little pinky-white laugh +'t was,--and it says, the Benjamin says: "Dyin'! Scaret o' dyin'? Why, I +die myself every single year o' my life." "Die yourself!" says Reuben. +"You 're foolin'; you're alive this minute." "'Course I be," says the +Benjamin; "but that's neither here nor there,--I've died every year +sence I can remember." "Don't it hurt?" says the boy. "No, it don't," +says the posy; "it's real nice. You see, you get kind o' tired a-holdin' +up your head straight and lookin' peart and wide awake, and tired o' the +sun shinin' so hot, and the winds blowin' you to pieces, and the bees +a-takin' your honey. So it's nice to feel sleepy and kind o' hang your +head down, and get sleepier and sleepier, and then find you're droppin' +off. Then you wake up jest 't the nicest time o' year, and come up and +look 'round, and--why, I like to die, I do." But someways that didn't +help Reuben much as you'd think. "I ain't a posy," he think to himself, +"and mebbe I wouldn't come up." + +Well, another time he was settin' on a stone in the lower pastur', +cryin' again, and he heerd another cur'us little voice. 'T wa'n't like +the posy's voice, but 'twas a little, wooly, soft, fuzzy voice, and he +see 't was a caterpillar a-talkin' to him. And the caterpillar says, in +his fuzzy little voice, he says, "What you cryin' for, Reuben?" And the +boy, he says, "I'm powerful scaret o' dyin', that's why," he says. And +that fuzzy caterpillar he laughed. "Dyin'!" he says. "I'm lottin' on +dyin' myself. All my fam'ly," he says, "die every once in a while, and +when they wake up they're jest splendid,--got wings, and fly about, and +live on honey and things. Why, I wouldn't miss it for anything!" he +says. "I'm lottin' on it." But somehow that didn't chirk up Reuben much. +"I ain't a caterpillar," he says, "and mebbe I wouldn't wake up at +all." + +Well, there was lots o' other things talked to that boy, and tried to +help him,--trees and posies and grass and crawlin' things, that was +allers a-dyin' and livin', and livin' and dyin'. Reuben thought it +didn't help him any, but I guess it did a little mite, for he couldn't +help thinkin' o' what they every one on 'em said. But he was scaret all +the same. + +And one summer he begun to fail up faster and faster, and he got so +tired he couldn't hardly hold his head up, but he was scaret all the +same. And one day he was layin' on the bed, and lookin' out o' the east +winder, and the sun kep' a-shinin' in his eyes till he shet 'em up, and +he fell asleep. He had a real good nap, and when he woke up he went out +to take a walk. + +And he begun to think o' what the posies and trees and creaturs had said +about dyin', and how they laughed at his bein' scaret at it, and he says +to himself, "Why, someways I don't feel so scaret to-day, but I s'pose I +be." And jest then what do you think he done? Why, he met a Angel. He'd +never seed one afore, but he knowed it right off. And the Angel says, +"Ain't you happy, little boy?" And Reuben says, "Well, I would be, only +I'm so dreadful scaret o' dyin'. It must be terr'ble cur'us," he says, +"to be dead." And the Angel says, "Why, you be dead." And he was. + + * * * * * + +The story of the boy that was scaret o' dyin' was the last story that +little Lib ever told us. We saw her sometimes after that, but she was +not strong enough to talk much. She sat no longer now in the low chair +under the maples, but lay on a chintz-covered couch in the sitting-room, +by the west windows. The once shrilly-sweet voice with its clear bird +tones was but a whisper now, as she told us over and again, while she +lay there, that she would tell us a new story "to-morrow." It was always +"to-morrow" till the end came. And the story was to be, so the whisper +went on, "the beautif'lest story,--oh, you never did!" And its name was +to be,--what a faint and feeble reproduction of the old triumphant +announcement of a new title!--"The Posy Gardin' that the King Kep'." + +She never told us that story. Before the autumn leaves had fallen, while +the maples in front of the farmhouse were still red and glorious in +their dying beauty, we laid our little friend to rest. Perhaps she will +tell us the tale some day. I am sure there will be "a Angel" in +it,--sure, too, that the story will have a new and tender meaning if we +hear it there, that story of the King and of the posy gardin' he kep'. + +----------------------------------------------------------------------- + +Transcriber's Notes + +1. Punctuation has been normalized to contemporary standards. +2. Unusual spelling in chapter titles retained. + + + + + + +End of Project Gutenberg's Story-Tell Lib, by Annie Trumbull Slosson + +*** END OF THIS PROJECT GUTENBERG EBOOK STORY-TELL LIB *** + +***** This file should be named 19989-8.txt or 19989-8.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/9/8/19989/ + +Produced by Roger Frank and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +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: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +*** END: FULL LICENSE *** + diff --git a/19989-8.zip b/19989-8.zip Binary files differnew file mode 100644 index 0000000..86396a2 --- /dev/null +++ b/19989-8.zip diff --git a/19989-h.zip b/19989-h.zip Binary files differnew file mode 100644 index 0000000..547921c --- /dev/null +++ b/19989-h.zip diff --git a/19989-h/19989-h.htm b/19989-h/19989-h.htm new file mode 100644 index 0000000..38a75ae --- /dev/null +++ b/19989-h/19989-h.htm @@ -0,0 +1,1433 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of Story-Tell Lib, by Annie Trumbull Slosson. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ + <!-- + p {margin-top: .75em; text-align: justify; margin-bottom: .75em;} + p.titleblock {margin-top: 0; margin-bottom: 0; text-indent: 0; text-align: center;} + h1,h2,h3,h4,h5,h6 {text-align: center; clear: both;} + table {margin-left: auto; margin-right: auto;} + body {margin-left: 10%; margin-right: 10%;} + .pagenum {display: inline; font-size: x-small; text-align: right; position: absolute; right: 2%; border:1px solid white; padding: 1px 3px; font-style: normal; font-variant:normal; font-weight:normal; text-decoration: none; color: #444; background-color: #EEE;} + .blockquot {margin-left: 5%; margin-right: 10%;} + .center {text-align: center;} + .smcap {font-variant: small-caps;} + td.pr {padding-right:10px;} + hr.full {width:100%; margin-top: 2em; margin-bottom: 2em;} + hr.major {width:75%; margin-top: 2em; margin-bottom: 2em;} + hr.minor {width:30%; margin-top: 0.5em; margin-bottom: 0.5em;} + .figcenter {margin: auto; text-align: center;} + .tnote {border: dashed 1px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em; padding-left: .5em; padding-right: .5em; font-size: 90%;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Story-Tell Lib, by Annie Trumbull Slosson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Story-Tell Lib + +Author: Annie Trumbull Slosson + +Release Date: December 1, 2006 [EBook #19989] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK STORY-TELL LIB *** + + + + +Produced by Roger Frank and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<h1>Story-Tell Lib</h1> + +<hr class='major' /> + +<div class='figcenter' style='width: 336px; padding-top: 1em; padding-bottom: 1em;'> +<a name='illus-001' id='illus-001'></a> +<img src='images/illus-fpc.jpg' alt='' title='' width = '336' height = '505'/> +</div> + +<hr class='major' /> + +<table width='450' cellpadding='2' cellspacing='0' summary='' border='1'><tr><td> +<p class='titleblock' style='font-size: 250%; margin-top: 80px; margin-bottom: 60px;'> Story-Tell Lib</p> +<p class='titleblock' style='font-size: 80%; margin-bottom: 20px;'> By</p> +<p class='titleblock' style='font-size: 120%; margin-bottom: 5px;'> Annie Trumbull Slosson</p> +<p class='titleblock' style='font-family: italic; margin-bottom: 60px;'> Author of “Fishin’ Jimmy”</p> +<div class='figcenter' style='width: 50px; padding-top: 1em; padding-bottom: 1em;'> +<img src='images/illus-emb.jpg' alt='' title='' width='50' height='73'/> +</div> +<p class='titleblock' style='font-size: 100%; margin-top: 120px;'> CHARLES SCRIBNER’S SONS</p> +<p class='titleblock' style='font-size: 90%; margin-bottom: 60px;'> NEW YORK . . . . . 1908</p> +</td></tr></table> + +<hr class='major' /> + +<p class='center'> +<i>Copyright, 1900</i><br /> +<span class='smcap'>By Charles Scribner’s Sons</span><br/> +<i>All rights reserved</i></p> + +<div class='figcenter' style='width: 100px; padding-top: 1em; padding-bottom: 1em;'> +<a name='illus-002' id='illus-002'></a> +<img src='images/illus-em2.jpg' alt='' title='' width = '100' height = '107'/> +</div> + +<hr class='major' /> + +<h2><a name='Contents' id='Contents'></a>Contents</h2> +<div class='smcap'> +<table border='0' width='500' cellpadding='2' cellspacing='0' summary='Contents'> +<col style='width:20%;' /> +<col style='width:70%;' /> +<col style='width:10%;' /> +<tr> + <td class='pr' align='right'>I</td> + <td align='left'>Story-Tell Lib</td> + <td align='right'><a href='#I'>3</a></td> +</tr> +<tr> + <td class='pr' align='right'>II</td> + <td align='left'>The Shet-up Posy</td> + <td align='right'><a href='#II'>11</a></td> +</tr> +<tr> + <td class='pr' align='right'>III</td> + <td align='left'>The Horse that B’leeved he’d Get there</td> + <td align='right'><a href='#III'>23</a></td> +</tr> +<tr> + <td class='pr' align='right'>IV</td> + <td align='left'>The Plant that Lost its Berry</td> + <td align='right'><a href='#IV'>35</a></td> +</tr> +<tr> + <td class='pr' align='right'>V</td> + <td align='left'>The Stony Head</td> + <td align='right'><a href='#V'>45</a></td> +</tr> +<tr> + <td class='pr' align='right'>VI</td> + <td align='left'>Diff’ent Kind o’ Bundles</td> + <td align='right'><a href='#VI'>55</a></td> +</tr> +<tr> + <td class='pr' align='right'>VII</td> + <td align='left'>The Boy that was Scaret</td> + <td align='right'><a href='#VII'>69</a></td> +</tr> +</table> +</div> + +<hr class='major' /> + +<h1>Story-Tell Lib</h1> + +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='I' id='I'></a> +<span class='pagenum'><a name='Page_3' id='Page_3'>3</a></span> +<h2>I</h2><h3>Story-Tell Lib</h3> +</div> + +<p>That was what everybody in the little mountain village called her. +Her real name, as she often told me, ringing out each syllable proudly +in her shrill sweet voice, was Elizabeth Rowena Marietta York. A +stately name, indeed, for the little crippled, stunted, helpless +creature, and I myself could never think of her by any name but the +one the village people used, Story-tell Lib. I had heard of her for +two or three summers in my visits to Greenhills. The village folk had +talked to me of the little lame girl who told such pretty stories out +of her own head, “kind o’ fables that learnt folks things, and helped +’em without bein’ too preachy.” But I<span class='pagenum'><a name='Page_4' id='Page_4'>4</a></span> had no definite idea of what +the child was till I saw and heard her myself. She was about thirteen +years of age, but very small and fragile. She was lame, and could walk +only with the aid of a crutch. Indeed, she could but hobble painfully, +a few steps at a time, with that assistance. Her little white face was +not an attractive one, her features being sharp and pinched, and her +eyes faded, dull, and almost expressionless. Only the full, prominent, +rounding brow spoke of a mind out of the common. She was an orphan, +and lived with her aunt, Miss Jane York, in an old-fashioned farmhouse +on the upper road.</p> + +<p>Miss Jane was a good woman. She kept the child neatly clothed and +comfortably fed, but I do not think she lavished many caresses or +loving words on little Lib, it was not her way, and the<span class='pagenum'><a name='Page_5' id='Page_5'>5</a></span> girl led a +lonesome, quiet, unchildlike life. Aunt Jane tried to teach her to +read and write, but, whether from the teacher’s inability to impart +knowledge, or from some strange lack in the child’s odd brain, Lib +never learned the lesson. She could not read a word, she did not even +know her alphabet. I cannot explain to myself or to you the one gift +which gave her her homely village name. She told stories. I listened +to many of them, and I took down from her lips several of these. They +are, as you will see if you read them, “kind o’ fables,” as the +country folk said. They were all simple little tales in the dialect of +the hill country in which she lived. But each held some lesson, +suggested some truth, which, strangely enough, the child herself did +not seem to see; at least, she never admitted that she saw or intended +any hidden meaning.<span class='pagenum'><a name='Page_6' id='Page_6'>6</a></span></p> + +<p>I often questioned her as to this after we became friends. After +listening to some tale in which I could discern just the lovely truth +which would best help some troubled soul in her audience, I have +questioned her as to its meaning. I can see now, in memory, the short-sighted, expressionless eyes of faded blue which met mine as she said, +“Don’t mean anything,—it don’t. It’s jest a story. Stories don’t +have to mean things; they’re stories, and I tells ’em.” That was all +she would say, and the mystery remained. What did it mean? Whence came +that strange power of giving to the people who came to her something +to help and cheer, both help and cheer hidden in a simple little +story? Was it, as I like to think, God-given, a treasure sent from +above? Or would you rather think it an inheritance from some +ancestor,<span class='pagenum'><a name='Page_7' id='Page_7'>7</a></span> a writer, a teller of tales? Or perhaps you +believe in the transmigration of souls, and think that the spirit of +some Æsop of old, who spoke in parables, had entered the frail +crippled body of our little Lib, and spoke through her pinched pale +lips. I leave you your theories, I keep my own.</p> + +<p>But one thing which I find I have omitted thus far may seem to you +to throw a little light on this matter. It does not help me much. Lib +was a wonderful listener, as well as a narrator. Miss Jane sometimes +took an occasional boarder. Teachers, clergymen, learned professors, +had from time to time tarried under her roof. And while these talked +to one another, or to some visitor from neighboring hotels, little Lib +would sit motionless and silent by the hour. One would scarcely call +it listening; to listen seems too active a<span class='pagenum'><a name='Page_8' id='Page_8'>8</a></span> verb in this case. The girl’s +face wore no eager look of interest, the faded, short-sighted eyes did +not light up with intelligence, nor the features quiver with varied +emotions. If she received ideas from what fell upon her ears, it must +have been by a sort of unconscious absorption. She took it in as the +earth does the rain or the flower the sunshine. And so it was with any +reading aloud from book or paper. She would sit, utterly quiet, while +the reader’s voice went on, and nothing could draw her away till it +was ended. Question her later as to what was read or spoken of, and +you gained no satisfaction. If she had any idea of what she had heard, +she had not the power of putting it into words. “I like it. I like it +lots,” she would say; that was all.</p> + +<p>Throughout the whole summer in which I knew the child, the +summer<span class='pagenum'><a name='Page_9' id='Page_9'>9</a></span> +which came so quickly, so sadly, to an end, little Lib sat, on bright, +fair days, in a low wooden chair under the maples in front of the +farmhouse. And it had grown to be the custom of her many friends, both +young and old, to gather there, and listen to her stories, if she had +any to tell. I often joined the group of listeners. On many, many +days, as the season advanced, Lib had no words for us. She had always +been a fragile, puny little creature, and this year she seemed to grow +weaker, thinner, more waxen white, each day. She had a wonderful +voice, shrill, far-reaching, but strangely sweet and clear, with a +certain vibrating, reedy, bird-like quality, which even yet thrills me +as I recall it.</p> + +<p>I am going to tell you a few of the little stories, pictures, +fables, parables, allegories,—I scarcely know what to<span class='pagenum'><a name='Page_10' id='Page_10'>10</a></span> call +them,—which I heard Story-tell Lib relate. The words are her +own, but I cannot give you the sweet tones, the quaint manner, the +weird, strange personality, of the little narrator. Let me say here +that often the little parables seemed meant to cheer and lift up Lib’s +own trembling soul, shut up in the frail, crippled body. Meant, I say; +perhaps that is not the right word. For did she mean anything by these +tales, at least consciously? Be that as it may, certain of these +little stories seemed to touch her own case strangely.</p> + +<hr class='major' /> +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='II' id='II'></a> +<span class='pagenum'><a name='Page_11' id='Page_11'>11</a></span> +<h2>The Shet-up Posy</h2><h3>II</h3> +</div> + +<p><span class='pagenum'><a name='Page_13' id='Page_13'>13</a></span>The first story I ever heard the child tell +was one of those which seemed to hold comfort and cheer for herself or +for humble little souls like her. It was a story of the closed +gentian, the title of which she announced, as she always did, loudly, +and with an amusing little air of self-satisfaction.</p> + +<h3>The Shet-up Posy</h3> + +<p>Once there was a posy. ’T wa’n’t a common kind o’ posy, that blows +out wide open, so’s everybody can see its outsides and its insides +too. But ’t was one of them posies like what grows down the road, back +o’ your pa’s sugar-house, Danny, and don’t come till way towards fall. +They’re sort o’ blue, but<span class='pagenum'><a name='Page_14' id='Page_14'>14</a></span> real dark, and they look ’s if they was +buds ’stead o’ posies,—only buds opens out, and these doesn’t +They’re all shet up close and tight, and they never, never, never +opens. Never mind how much sun they get, never mind how much rain or +how much drouth, whether it’s cold or hot, them posies stay shet up +tight, kind o’ buddy, and not finished and humly. But if you pick ’em +open, real careful, with a pin,—I’ve done it,—you find +they’re dreadful pretty inside.</p> + +<p>You couldn’t see a posy that was finished off better, soft and +nice, with pretty little stripes painted on ’em, and all the little +things like threads in the middle, sech as the open posies has, +standing up, with little knots on their tops, oh, so pretty,—you +never did! Makes you think real hard, that does; leastways, makes me. +What’s they<span class='pagenum'><a name='Page_15' id='Page_15'>15</a></span> that way for? If they ain’t never goin’ to +open out, what’s the use o’ havin’ the shet-up part so slicked up and +nice, with nobody never seem’ it? Folks has different names for ’em, +dumb foxgloves, blind genshuns, and all that, but I allers call ’em +the shet-up posies.</p> + +<p>Well, ’t was one o’ that kind o’ posy I was goin’ to tell you +about. ’Twas one o’ the shet-uppest and the buddiest of all on ’em, +all blacky-blue and straight up and down, and shet up fast and tight. +Nobody’d ever dream’t was pretty inside. And the funniest thing, it +didn’t know ’twas so itself! It thought ’twas a mistake somehow, +thought it had oughter been a posy, and was begun for one, but wa’n’t +finished, and ’twas terr’ble unhappy. It knew there was pretty posies +all ’round there, goldenrod and purple daisies and all; and their +inside was the right side,<span class='pagenum'><a name='Page_16' id='Page_16'>16</a></span> and they was proud of it, and held it open, +and showed the pretty lining, all soft and nice with the little fuzzy +yeller threads standin’ up, with little balls on their tip ends. And +the shet-up posy felt real bad; not mean and hateful and begrudgin’, +you know, and wantin’ to take away the nice part from the other +posies, but sorry, and kind o’ ’shamed.</p> + +<p>“Oh, deary me!” she says,—I most forgot to say ’twas a girl +posy,—“deary me, what a humly, skimpy, awk’ard thing I be! I +ain’t more ’n half made; there ain’t no nice, pretty lining inside o’ +me, like them other posies; and on’y my wrong side shows, and that’s +jest plain and common. I can’t chirk up folks like the goldenrod and +daisies does. Nobody won’t want to pick me and carry me home. I ain’t +no good to anybody, and I never shall be.”<span class='pagenum'><a name='Page_17' id='Page_17'>17</a></span></p> + +<p>So she kep’ on, thinkin’ these dreadful sorry thinkin’s, and most +wishin’ she’d never been made at all. You know ’t wa’n’t jest at fust +she felt this way. Fust she thought she was a bud, like lots o’ buds +all ’round her, and she lotted on openin’ like they did. But when the +days kep’ passin’ by, and all the other buds opened out, and showed +how pretty they was, and she didn’t open, why, then she got terr’ble +discouraged; and I don’t wonder a mite.</p> + +<p>She’d see the dew a-layin’ soft and cool on the other posies’ +faces, and the sun a-shinin’ warm on ’em as they held ’em up, and +sometimes she’d see a butterfly come down and light on ’em real soft, +and kind o’ put his head down to ’em, ’s if he was kissin’ ’em, and +she thought ’twould be powerful nice to hold her face up to all them +pleasant things. But she couldn’t.<span class='pagenum'><a name='Page_18' id='Page_18'>18</a></span></p> + +<p>But one day, afore she’d got very old, ’fore she’d dried up or fell +off, or anything like that, she see somebody comin’ along her way. +’Twas a man, and he was lookin’ at all the posies real hard and +partic’lar, but he wasn’t pickin’ any of ’em. Seems ’s if he was +lookin’ for somethin’ diff’rent from what he see, and the poor little +shet-up posy begun to wonder what he was arter. Bimeby she braced up, +and she asked him about it in her shet-up, whisp’rin’ voice. And says +he, the man says: “I’m a-pickin’ posies. That’s what I work at most o’ +the time. ’T ain’t for myself,” he says, “but the one I work for. I’m +on’y his help. I run errands and do chores for him, and it’s a +partic’lar kind o’ posy he’s sent me for to-day.” “What for does he +want ’em?” says the shet-up posy. “Why, to set out in his<span class='pagenum'><a name='Page_19' id='Page_19'>19</a></span> gardin,” +the man says. “He’s got the beautif’lest gardin you never see, and I +pick posies for ’t.” “Deary me,” thinks she to herself, “I jest wish +he’d pick me. But I ain’t the kind, I know.” And then she says, so +soft he can’t hardly hear her, “What sort o’ posies is it you’re arter +this time?” “Well,” says the man, “it’s a dreadful sing’lar order I’ve +got to-day. I got to find a posy that’s handsomer inside than ’t is +outside, one that folks ain’t took no notice of here, ’cause ’twas +kind o’ humly and queer to look at, not knowin’ that inside ’twas as +handsome as any posy on the airth. Seen any o’ that kind?” says the +man.</p> + +<p>Well, the shet-up posy was dreadful worked up. “Deary dear!” she +says to herself, “now if they’d on’y finished me off inside! I’m the +right kind outside, humly and queer enough, but<span class='pagenum'><a name='Page_20' id='Page_20'>20</a></span> there’s +nothin’ worth lookin’ at inside,—I’m certin sure o’ that.” But +she didn’t say this nor anything else out loud, and bimeby, when the +man had waited, and didn’t get any answer, he begun to look at the +shet-up posy more partic’lar, to see why she was so mum. And all of a +suddent he says, the man did, “Looks to me’s if you was somethin’ that +kind yourself, ain’t ye?” “Oh, no, no, no!” whispers the shet-up posy. +“I wish I was, I wish I was. I’m all right outside, humly and awk’ard, +queer’s I can be, but I ain’t pretty inside,—oh! I most know I +ain’t.” “I ain’t so sure o’ that myself,” says the man, “but I can +tell in a jiffy.” “Will you have to pick me to pieces?” says the shet-up posy. “No, ma’am,” says the man; “I’ve got a way o’ tellin’, the +one I work for showed me.” The shet-up posy never knowed what<span class='pagenum'><a name='Page_21' id='Page_21'>21</a></span> he done +to her. I don’t know myself, but ’twas somethin’ soft and pleasant, +that didn’t hurt a mite, and then the man he says, “Well, well, well!” +That’s all he said, but he took her up real gentle, and begun to carry +her away. “Where be ye takin’ me?” says the shet-up posy. “Where ye +belong,” says the man; “to the gardin o’ the one I work for,” he says. +“I didn’t know I was nice enough inside,” says the shet-up posy, very +soft and still. “They most gen’ally don’t,” says the man.</p> + +<hr class='major' /> +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='III' id='III'></a> +<span class='pagenum'><a name='Page_23' id='Page_23'>23</a></span> +<h2>The Horse that B’leeved he’d Get there</h2><h3>III</h3> +</div> + +<p><span class='pagenum'><a name='Page_25' id='Page_25'>25</a></span> +Among those who sometimes came to listen to little Lib’s allegories +was Mary Ann Sherman, a tall, dark, gloomy woman of whom I had heard +much. She was the daughter of old Deacon Sherman, a native of the +village, who had, some years before I came to Greenhills, died by his +own hand, after suffering many years from a sort of religious +melancholia. Whether the trouble was hereditary and his daughter was +born with a tendency inherited from her father, or whether she was +influenced by what she had heard of his life, and death, I do not +know. But she was a dreary creature with never a smile or a hopeful +look upon her dark<span class='pagenum'><a name='Page_26' id='Page_26'>26</a></span> face. Nothing to her was right or good; +this world was a desert, her friends had all left her, strangers +looked coldly upon her. As for the future, there was nothing to look +forward to in this world or the next. As Dave Moony, the village +cynic, said, “Mary Ann wa’n’t proud or set up about nothin’ but bein’ +the darter of a man that had c’mitted the onpar’nable sin.” Poor +woman! her eyes were blinded to all the beauty and brightness of this +world, to the hope and love and joy of the next. What wonder that one +day, as she paused in passing the little group gathered around Lib, +and the child began the little story I give below, I thought it well +fitted to the gloomy woman’s case!<span class='pagenum'><a name='Page_27' id='Page_27'>27</a></span></p> + +<h3>The Horse that B’leeved he’d Get there</h3> + +<p>You’ve seen them thrashin’ machines they’re usin’ round here. The +sort, you know, where the horses keep steppin’ up a board thing ’s if +they was climbin’ up-hill or goin’ up a pair o’ stairs, only they +don’t never get along a mite; they keep right in the same place all +the time, steppin’ and steppin’, but never gittin’ on.</p> + +<p>Well, I knew a horse once, that worked on one o’ them things. His +name was Jack, and he was a nice horse. First time they put him on to +thrash, he didn’t know what the machine was, and he walked along and +up the boards quick and lively, and he didn’t see why he didn’t get on +faster. There was a horse side of him named Billy, a<span class='pagenum'><a name='Page_28' id='Page_28'>28</a></span> kind o’ +frettin’, cross feller, and he see through it right off.</p> + +<p>“Don’t you go along,” he says to Jack; “’t ain’t no use; you won’t +never get on, they’re foolin’ us, and I won’t give in to ’em.” So +Billy he hung back and shook his head, and tried to get away, and to +kick, and the man whipped him, and hollered at him. But Jack, he went +on quiet and quick and pleasant, steppin’ away, and he says softly to +Billy, “Come along,” he says; “it’s all right, we’ll be there bimeby. +Don’t you see how I’m gittin’ on a’ready?” And that was the ways +things went every day.</p> + +<p>Jack never gin up; he climbed and climbed, and walked and walked, +jest’s if he see the place he was goin’ to, and ’s if it got nearer +and nearer. And every night, when they took him off, he was as pleased +with his day’s journey<span class='pagenum'><a name='Page_29' id='Page_29'>29</a></span> ’s if he’d gone twenty mile. “I’ve done +first-rate to-day,” he says to cross, kickin’ Billy. “The roads was +good, and I never picked up a stone nor dropped a shoe, and I got on a +long piece. I’ll be there pretty soon,” says he. “Why,” says Billy, +“what a foolish fellow you be! You’ve been in the same place all day, +and ain’t got on one mite. What do you mean by <i>there</i>? Where is +it you think you’re goin’, anyway?”</p> + +<p>“Well, I don’t ’zackly know,” says Jack, “but I’m gittin’ there +real spry. I ’most see it one time to-day.” He didn’t mind Billy’s +laughin’ at him, and tryin’ to keep him from bein’ sat’sfied. He jest +went on tryin’ and tryin’ to get there, and hopin’ and believin’ he +would after a spell. He was always peart and comfortable, took his +work real easy, relished his victuals and drink, and slept first rate +nights. But Billy he fretted<span class='pagenum'><a name='Page_30' id='Page_30'>30</a></span> and scolded and kicked and bit, and that +made him hot and tired, and got him whipped, and hollered at, and +pulled, and yanked. You see, he hadn’t got anything in his mind to +chirk him up, for he didn’t believe anything good was comin’, as Jack +did; he ’most knowed it wasn’t, but Jack ’most knowed it was. And Jack +took notice of things that Billy never see at all. He see the trees a-growin’, and heered the birds a-singin’, and Injun Brook a-gugglin’ +along over the stones, and he watched the butterflies a-flyin’, and +sometimes a big yeller ’n black one would light right on his back. +Jack took notice of ’em all, and he’d say, “I’m gettin’ along now, +certin sure, for there’s birds and posies and flyin’ things here I +never see back along. I guess I’m most there.” “‘There, there!’” +Billy’d say. “Where is it,<span class='pagenum'><a name='Page_31' id='Page_31'>31</a></span> anyway? I ain’t never seen any o’ them +posies and creaturs you talk about, and I’m right side of you on these +old boards the whole time.”</p> + +<p>And all the children round there liked Jack. They’d watch the two +horses workin’, and they see Billy all cross and skittish, holdin’ +back and shakin’ his head and tryin’ to kick, never takin’ no notice +o’ them nor anything. And, again, they see Jack steppin’ along peart +and spry, pleasant and willin’, turnin’ his head when they come up to +him, and lookin’ friendly at ’em out of his kind brown eyes, and +they’d say, the boys and girls would, “Good Jack! nice old Jack!” and +they’d pat him, and give him an apple, or a carrot, or suthin’ good. +But they didn’t give Billy any. They didn’t like his ways, and they +was ’most afraid he’d bite their fingers. And<span class='pagenum'><a name='Page_32' id='Page_32'>32</a></span> Jack would say, come +evenin’, “It’s gittin’ nicer and nicer we get further on the +road,—ain’t it? Folks is pleasanter speakin’, and the victuals +’pears better flavored, and things is comfortabler every way, seems ’s +if, and I jedge by that we’re ’most there.” But Billy’d say, a-grumblin’ away, “It’s worse’n worse,—young ones a-botherin’ my +life out o’ me, and the birds a-jabberin’ and the posies a-smellin’ +till my head aches. Oh, deary me! I’m ’most dead.” So ’t went on and +kep’ on. Jack had every mite as hard work as Billy, but he didn’t mind +it, he was so full o’ what was comin’ and how good ’t would be to get +there. And ’cause he was pleasant and willin’ and worked so good, and +’cause he took notice o’ all the nice things round him, and see new +ones every day, he was treated real kind, and never got tired<span class='pagenum'><a name='Page_33' id='Page_33'>33</a></span> and used +up and low in his mind like Billy. Even the flies didn’t pester him’s +they done Billy, for he on’y said, when he felt ’em bitin’ and +crawlin’, “Dog-days is come,” says he, “for here’s the flies worse and +worse. So the summer’s most over, and I’ll get there in a jiffy +now.”</p> + +<p>“What am I stoppin’ for,” do you say, ‘Miry? ’Cause that’s all. You +needn’t make sech a fuss, child’en. It’s done, this story is, I tell +ye. Leastways I don’t know any more on it. I told you all about them +two horses, and which had a good time and which didn’t, and what ’twas +made the differ’nce ’twixt ’em. But you want to know whether Jack got +there. Well, I don’t know no more ’n the horses did what <i>there</i> +was, but in my own mind I b’leeve he got it. Mebbe ’t was jest dyin’ +peaceful and quiet, and restin’ after all that steppin’<span class='pagenum'><a name='Page_34' id='Page_34'>34</a></span> and +climbin’. He’d a-liked that, partic’lar when he knowed the folks was +sorry to have him go, and would allus rec’lect him. Mebbe ’t was jest +livin’ on and on, int’rested and enjoyin’, and liked by folks, and +then bein’ took away from the hard work and put out to pastur’ for the +rest o’ his days. Mebbe ’twas—Oh! I d’know. Might ’a’ been lots +o’ things, but I feel pretty certin sure he got it, and he was glad he +hadn’t gi’n up b’leevin’ ’t would come. For you ’member, all the time +when Billy ’most knowed it wasn’t, Jack ’most knowed ’twas.</p> + +<hr class='major' /> +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='IV' id='IV'></a> +<span class='pagenum'><a name='Page_35' id='Page_35'>35</a></span> +<h2>The Plant that Lost its Berry</h2><h3>IV</h3> +</div> + +<p><span class='pagenum'><a name='Page_37' id='Page_37'>37</a></span>It was a sad day in Greenhills when we knew +that Susan Holcomb’s little Jerusha was dead. We all loved the child, +and she was her mother’s dearest treasure. Susan was a widow, and this +was her only child. A pretty little creature she was, with yellow +curls and dark-blue eyes, rosy and plump and sturdy. But a sudden, +sharp attack of croup seized the child, and in a few hours she fell +asleep. I need not tell you of the mother’s grief. She could not be +comforted because her child was not. One day a little neighbor, a boy +with great faith—not wholly misplaced—in the helpfulness +of Story-tell Lib’s little parables, succeeded, with a child’s art, in +bringing the sad mother to the<span class='pagenum'><a name='Page_38' id='Page_38'>38</a></span> group of listeners. And it was that day +that Lib told this new story.</p> + +<h3><a name='The_Plant_that_Lost_its_Berry' +id='The_Plant_that_Lost_its_Berry'></a>The Plant that Lost its Berry</h3> + +<p>Once there was a plant, and it had jest one little berry. And the +berry was real pretty to look at. It was sort o’ blue, with a kind o’ +whitey, foggy look all over the blue, and it wa’n’t round like +huckleberries and cramb’ries, but longish, and a little p’inted to +each end. And the stem it growed on, the little bit of a stem, you +know, comin’ out o’ the plant’s big stem, like a little neck to the +berry, was pinky and real pretty. And this berry didn’t have a lot o’ +teenty little seeds inside on it, like most berries, but it jest had +one pretty white stone in it, with raised up streaks on it.</p> + +<p>The plant set everything by her little berry. She thought there +never was in<span class='pagenum'><a name='Page_39' id='Page_39'>39</a></span> all the airth sech a beautiful berry as +hern,—so pretty shaped and so whitey blue, with sech a soft skin +and pinky neck, and more partic’lar with that nice, white, striped +stone inside of it. She held it all day and all night tight and fast. +When it rained real hard, and the wind blowed, she kind o’ stretched +out some of her leaves, and covered her little berry up, and she done +the same when the sun was too hot. And the berry growed and growed, +and was so fat and smooth and pretty! And the plant was jest wropped +up in her little berry, lovin’ it terr’ble hard, and bein’ dreadful +proud on it, too.</p> + +<p>Well, one day, real suddent, when the plant wasn’t thinkin’ of any +storm comin’, a little wind riz up. ’T wa’n’t a gale, ’t wa’n’t half +as hard a blow as the berry’d seen lots o’ times and never got hurt +nor nothin’. And the plant wa’n’t<span class='pagenum'><a name='Page_40' id='Page_40'>40</a></span> lookin’ out for any danger, +when all of a suddent there come a little bit of a snap, and the +slimsy little pink stem broke, and the little berry fell and rolled +away, and, ’fore you could say “Jack Robinson,” ’t was clean gone out +o’ sight. I can’t begin to tell ye how that plant took on. Seem ’s if +she’d die, or go ravin’ crazy. It’s only folks that has lost jest what +they set most by on airth that can understand about it, I s’pose. She +wouldn’t b’leeve it fust off; she ’most knowed she’d wake up and feel +her little berry a-holdin’ close to her, hangin’ on her, snugglin’ up +to her under the shady leaves. The other plants ’round there tried to +chirk her up and help her. One on ’em told her how it had lost all its +little berries itself, a long spell back, and how it had some ways +stood it and got over it. “But they wa’n’t like mine,” thinks the poor +plant.<span class='pagenum'><a name='Page_41' id='Page_41'>41</a></span> “There never, never was no berry like mine, +with its pretty figger, its pinky, slim little neck, and its soft, +smooth-feelin’ skin.” And another plant told her mebbe her berry was +saved from growin’ up a trouble to her, gettin’ bad and hard, with +mebbe a worm inside on it, to make her ashamed and sorry. “Oh, no, +no!” thinks the mother plant. “My berry’d never got bad and hard, and +I’d ’a’ kep’ any worm from touchin’ its little white heart.” Not a +single thing the plant-folks said to her done a mite o’ good. Their +talk only worried her and pestered her, when she jest wanted to be let +alone, so’s she could think about her little berry all to herself.</p> + +<p>Just where the berry used to hang, and where the little pinky stem +broke off, there was a sore place, a sort o’ scar, that ached and +smarted all day and<span class='pagenum'><a name='Page_42' id='Page_42'>42</a></span> all night, and never, never healed up. And +bimeby the poor plant got all wore out with the achin’ and the +mournin’ and the missin’ and she ’peared to feel her heart all a-dryin’ up and stoppin’, and her leaves turned yeller and wrinkled, +and—she was dead. She couldn’t live on, ye see, without her +little berry.</p> + +<p>They called it bein’ dead, folks did, and it looked like it, for +there she lay without a sign of life for a long, long, long spell. +’Twas for days and weeks and months anyway. But it didn’t seem so long +to the mother plant. She shet up her eyes, feelin’ powerful tired and +lonesome, and the next thing she knowed she opened ’em again, and she +was wide awoke. She hardly knowed herself, though, she was so fresh +and juicy and ’live, so kind o’ young every way. Fust off she didn’t +think o’ anything but that, how good and well she<span class='pagenum'><a name='Page_43' id='Page_43'>43</a></span> felt, and +how beautiful things was all ’round her. Then all of a suddent she +rec’lected her little berry, and she says to herself, “Oh, dear, dear +me! If only my own little berry was here to see me now, and know how I +feel!” She thought she said it to herself, but mebbe she talked out +loud, for, jest as she said it, somebody answered her. ’T was a Angel, +and he says, “Why your little berry does see you,—look there.” +And she looked, and she see he was p’intin’ to the beautif’lest little +plant you never see,—straight and nice, with little bits o’ soft +green leaves, with the sun a-shinin’ through ’em, and,—well, +somehow, you never can get it through your head how mothers take in +things,—she knowed cert’in sure that was her little berry.</p> + +<p>The Angel begun to speak. He was goin’ to explain how, if she +hadn’t never<span class='pagenum'><a name='Page_44' id='Page_44'>44</a></span> lost her berry, ’twouldn’t never ’a’ growed +into this pretty plant, but, he see, all of a suddent, that he needn’t +take the trouble. She showed in her face she knowed all about +it,—every blessed thing. I tell ye, even angels ain’t much use +explainin’ when there’s mothers, and it’s got to do with their own +child’en. Yes, the mother plant see it all, without tellin’. She was +jest a mite ’shamed but she was terr’ble pleased.</p> + +<hr class='major' /> +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='V' id='V'></a> +<span class='pagenum'><a name='Page_45' id='Page_45'>45</a></span> + +<h2>The Stony Head</h2><h3>V</h3> +</div> + +<p><span class='pagenum'><a name='Page_47' id='Page_47'>47</a></span>When little Lib told the story I give below, +Deacon Zenas Welcome was one of the listeners. The deacon was a son of +old Elder Welcome who had been many years before the pastor of the +little church in a neighboring village. Elder Welcome was one of the +old-fashioned sort not so common in these days, a good man, but stern +and somewhat harsh. He preached only the terrors of the law, dwelt +much upon the doctrines, the decrees, election, predestination, and +eternal punishment, and rarely lingered over such themes as the +fatherhood of God, his love to mankind, and his wonderful gift to a +lost world. The son followed in his father’s footsteps. He was a hard, +austere, melancholy<span class='pagenum'><a name='Page_48' id='Page_48'>48</a></span> man, undemonstrative and reticent, shutting +out all brightness from his own life, and clouding many an existence +going on around him. I have always thought that his unwonted presence +among us that day had a purpose, and that he had come to spy out some +taint of heterodoxy in Lib’s tales, to reprove and condemn. He went +away quietly, however, when the story was ended, and we heard nothing +of reproof or condemnation.</p> + +<h3><a name='The_Stony_Head' id='The_Stony_Head'></a>The Stony +Head</h3> + +<p>Once there was somethin’ way up on the side of a mountain that +looked like a man’s head. The rocks up there’d got fixed so’s they +jest made a great big head and face, and everybody could see it as +plain as could be. Folks called it the Stony Head, and they come to +see it<span class='pagenum'><a name='Page_49' id='Page_49'>49</a></span> from miles away. There was a man lived +round there jest where he could see the head from his winder. He was a +man that things had gone wrong with all along; he’d had lots o’ +trouble, and he didn’t take it very easy. He fretted and complained, +and blamed it on other folks, and more partic’lar on—God. And +one day—he’d jest come to live in them parts—he looked out +of his winder, and he see, standin’ out plain ag’in the sky, he see +that Stony Head. It looked real ha’sh and hard and stony and dark, and +all of a suddent the man thought it was—God.</p> + +<p>“Yes,” he says to hisself, “that’s jest the way I ’most knowed he +looked, ha’sh and hard and stony and dark, and that’s him.” The man +was dreadful scaret of it, but some ways he couldn’t stop lookin’ at +it. And bimeby he shet hisself up there all alone, and spent his +whole<span class='pagenum'><a name='Page_50' id='Page_50'>50</a></span> time jest a-lookin’ at that hard, stony +face, and thinkin’ who’t was, and who’d brought all his trouble on +him. There was poor folks all ’round that deestrict, but he never done +nothin’ to help ’em; let ’em be hungry or thirsty or ailin’, or shet +up in jail, or anything, he never helped ’em or done a thing for ’em, +’cause he was a-lookin’ every single minute at that head, and seein’ +how stony and hard it was, and bein’ scaret of it and the One he +thought it looked like.</p> + +<p>Folks that was in trouble come along and knocked at his door, and +he never opened it a mite, even to see who was there. Sheep and lambs +that had got lost come a-strayin’ into his yard, but he never took ’em +in, nor showed ’em the way home. He wa’n’t no good to nobody, not even +to hisself, for he was terr’ble unhappy and scaret and angry. So ’t +went on, oh! I d’know how long,<span class='pagenum'><a name='Page_51' id='Page_51'>51</a></span> years and years, I guess likely, and there +the man was shet up all alone, lookin’ and lookin’, and scaret at +lookin’ at that ha’sh, hard, stony face and head. But one day, as he +was settin’ there by the winder lookin’, he heerd a little sound. I +d’know what made him hear it jest then. There’d been sech sounds as +that time and time ag’in, and he never took no notice. ’Twas like a +child a-cryin’, and that’s common enough.</p> + +<p>But this time it seemed diff’ent, and he couldn’t help takin’ +notice. He tried not to hear it, but he had to. ’T was a little child +a-cryin’ as if it had lost its way and was scaret, and the man found +he couldn’t stand it somehow. Mebbe the reason was he’d had a little +boy of his own once, and he lost him. Now I think on ’t, that was one +o’ the things he blamed on God, and<span class='pagenum'><a name='Page_52' id='Page_52'>52</a></span> thought about when he looked +at the Stone Head. Anyway, he couldn’t stand this cryin’ that time, +and he started up, and, fust thing he knowed, he’d opened the door and +gone out. He hadn’t been out in the sunshine and the air for a long +spell, and it made his head swimmy at fust. But he heerd the little +cryin’ ag’in, and he run along on to find the child. But he couldn’t +find it; every time he’d think he was close to it, he’d hear the +cryin’ a little further off. And he’d go on and on, a-stumblin’ over +stones and fallin’ over logs and a-steppin’ into holes, but stickin’ +to it, and forgettin’ everything only that little cryin’ voice ahead +of him. Seems ’s if he jest must find that little lost boy or girl, ’s +if he’d be more ’n willin’ to give up his own poor lonesome old life to +save that child. And, jest ’s he come to thinkin’ that, he see +somethin’ ahead<span class='pagenum'><a name='Page_53' id='Page_53'>53</a></span> of him movin’ and in a minute he knowed +he’d found the lost child.</p> + +<p>’Fore he thought what he was a-doin’, he got down on his knees +jest’s he used to do ’fore he got angry at God, and was goin’ to thank +him for helpin’ him to save that child. Then he rec’lected. It come +back to him who God was, and how he’d seed his head, with the ha’sh +stony face up on the mountain, and that made him look up to see it +ag’in.</p> + +<p>And oh! what do you think he see? There was the same head up +there,—he couldn’t make a mistake about that,—but the +face, oh! the face was so diff’ent. It wasn’t ha’sh nor hard nor dark +any more. There was such a lovin’, beautiful, kind sort o’ look on it +now. Some ways it made the man think a mite of the way his father, +that had died ever so long ago, used to look at him when he was a boy, +and had been bad, and<span class='pagenum'><a name='Page_54' id='Page_54'>54</a></span> then was sorry and ’shamed. Oh, ’t was the +beautif’lest face you never see! “Oh! what ever does it mean?” says +the man out loud. “What’s changed that face so? Oh! what in the +world’s made it so diff’ent?” And jest that minute a Angel come up +close to him. ’T was a little young Angel, and I guess mebbe ’t was +what he’d took for a lost child, and that he’d been follerin’ so fur. +And the Angel says, “The face ain’t changed a mite. ’Twas jest like +that all the time, only you’re lookin’ at it from a diff’ent p’int.” +And ’twas so, and he see it right off. He’d been follerin’ that cryin’ +so fur and so long that he’d got into a diff’ent section o’ country, +and he’d got a diff’ent view, oh! a terr’ble diff’ent view, and he +never went back.</p> + +<hr class='major' /> +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='VI' id='VI'></a> +<span class='pagenum'><a name='Page_55' id='Page_55'>55</a></span> +<h2>Diff’ent Kind o’ Bundles</h2><h3>VI</h3> +</div> + +<p><span class='pagenum'><a name='Page_57' id='Page_57'>57</a></span>Everybody in Greenhills knew “Stoopin’ +Jacob,” the little humpbacked boy who lived at the north end of the +village. From babyhood he had suffered from a grievous deformity which +rounded his little shoulders and bowed the frail form. It was +characteristic of the kindly folk of the neighborhood, that, instead +of calling the boy Hump-backed or Crooked-backed Jacob, they gave him +the name of Stoopin’ Jacob, as if the bowed and bent posture was +voluntary, and not enforced.</p> + +<p>A lovely soul dwelt in that crooked, pain-racked body, and looked +out of the gentle brown eyes shining in the pale, thin little face. +Every one loved the boy, most of all the dogs, cats,<span class='pagenum'><a name='Page_58' id='Page_58'>58</a></span> horses, +cows of the little farms, the birds and animals of forest and +brookside. He knew them all, and they knew, loved, and trusted him. +The tinier creatures, such as butterflies, bees, ants, beetles, even +caterpillars, downy or smooth, were his friends, or seemed so. He knew +them, watched them, studied their habits, and was the little +naturalist of Greenhills village, consulted by all, even by older and +wiser people.</p> + +<p>A close friendship existed between the boy and Story-tell Lib, and +we all understood the tale she told us one day when Stoopin’ Jacob was +one of the listeners.</p> + +<h3><a name='Diffent_Kind_o_Bundles' +id='Diffent_Kind_o_Bundles'></a>Diff’ent Kind o’ Bundles</h3> + +<p>Once there was a lot o’ folks, and every single one on ’em had +bundles on their backs. But they was all diff’ent,<span class='pagenum'><a name='Page_59' id='Page_59'>59</a></span> oh! jest +as diff’ent as—as anything, the bundles was. And these folks all +b’longed to one person, that they called the Head Man. They was his +folks, and nobody else’s, and he had the whole say, and could do +anything he wanted to. But he was real nice, and always done jest the +best thing,—yes, sir, the bestest thing, whatever folks might +say against it.</p> + +<p>Well, I was tellin’ ye about how these folks had diff’ent kind o’ +bundles on their backs. ’Twas this way. One on ’em was a man that had +a real hefty bundle on his back, that he’d put on there +hisself,—not all to onct, but a mite to time, for years ‘n’ +years. ’Twas a real cur’us bundle, made up out o’ little things in the +road that’d got in his way, or hurt him, or put him back. Some on ’em +was jest little stones that had hurt his feet, and some was +little<span class='pagenum'><a name='Page_60' id='Page_60'>60</a></span> stingin’ weeds that smarted him as he went +by ’em, and some was jest mites o’ dirt somebody’d throwed at him, not +meanin’ no great o’ harm. He’d picked ’em all up, every bit o’ +worryin’, prickin’, hurtin’ little thing, and he’d piled ’em up on his +back till he had a big bundle that he allers carried about and never +forgot for a minute.</p> + +<p>He was f’rever lookin’ out for sech troublin’ things, too, and he’d +see ’em way ahead on him in his road, and sometimes he’d think he see +’em when there wa’n’t any there ’t all. And, ’stead o’ lettin’ ’em lay +where they was, and goin’ right ahead and forgettin’ ’em, he’d pick +every single one on ’em up and pile ’em on that bundle, and carry ’em +wherever he went.</p> + +<p>And he was allers talkin’ about ’em to folks, p’intin’ out that +little stone that he’d stubbed his toe on, and this pesky<span class='pagenum'><a name='Page_61' id='Page_61'>61</a></span> weed that +stung him, and t’other little mite o’ mud he’d conceited somebody’d +throwed at him. He fretted and scolded and complained ’bout ’em, and +made out that nobody never had so many tryin’ things gettin’ in his +way as he had. He never took into ’count, ye see, that he’d picked ’em +up hisself and piled ’em on his own back. If he’d jest let ’em lay, +and gone along, he’d ’a’ forgot ’em all, I guess, after a spell.</p> + +<p>Then there was another man with a bundle, a cur’us one too, for ’t +was all made out o’ money, dreadful heavy and cold and hard to carry. +Every speck o’ money he could scrape together he’d put in that bundle, +till he couldn’t scursely heft it, ’twas that big and weighed so much. +He had plenty o’ chances to make it lighter, for there was folks all +along the road that needed it bad,—little child’en that hadn’t +no<span class='pagenum'><a name='Page_62' id='Page_62'>62</a></span> +clo’es nor no victuals, and sick folks and old folks, every one on ’em +needin’ money dreadful bad. But the man never gin ’em a mite. He kep’ +it all on his back, a-hurtin’ and weighin’ him down.</p> + +<p>Then ag’in there was another man. He had a bundle that he didn’t +put on his back hisself, nor the Head Man didn’t nuther. Folks did it +to him. He hadn’t done nothin’ to deserve it, ’t was jest put on him +by other people, and so ’t was powerful hard to bear. But, ye see, the +Head Man had pervided partic’lar for them kind, and he’d said in +public, so ’t everybody knowed about it, that he’d help folks like +that,—said he’d help ’em carry sech bundles hisself, or mebbe +take ’em off, if it ’peared to be best.</p> + +<p>But this man disremembered that,—or, worse still, p‘r’aps he +didn’t ’zackly<span class='pagenum'><a name='Page_63' id='Page_63'>63</a></span> believe it. So he went along all scrunched +down with that hefty bundle other folks had piled up on him, not +scoldin’ nor complainin’ nor gittin’ mad about it, but jest thinkin’ +it had got to be, and nobody could help him. But ye see it hadn’t got +to be, and somebody could ’a’ helped him.</p> + +<p>And then bimeby along come a man that had sech a hefty, hefty +bundle! ’Twas right ’tween his shoulders, and it sort o’ scrooched him +down, and it hurt him in his back and in his feelin’s. The Head Man +had put that bundle on the man hisself when he was a little bit of a +feller. He’d made it out o’ flesh and skin and things. It was jest +ezackly like the man’s body, so ’t when it ached he ached hisself. And +he’d had to carry that thing about all his born days.</p> + +<p>I don’t know why the Head Man done<span class='pagenum'><a name='Page_64' id='Page_64'>64</a></span> it, I’m sure, but I know how +good and pleasant he was, and how he liked his folks and meant well to +’em, and how he knowed jest what oughter be and what hadn’t oughter +be, so ’t stands to reason he’d done this thing a-purpose, and not +careless like, and he hadn’t made no mistake.</p> + +<p>I’ve guessed a lot o’ reasons why he done it. Mebbe he see the man +wouldn’t ’a’ done so well without the bundle,—might ’a’ run off, +’way, ’way off from the Head Man and the work he had to do. Or, ag’in, +p‘r’aps he wanted to make a ’zample of the man, and show folks how +patient and nice a body could be, even though he had a big, hefty +bundle to carry all his born days, one made out o’ flesh and skin and +things, and that hurt dreadful.</p> + +<p>But my other guess is the one I b’leeve in most,—that the +Head Man done it<span class='pagenum'><a name='Page_65' id='Page_65'>65</a></span> to scrooch him down, so’s he’d take notice +o’ little teenty things, down below, that most folks never see, things +that needed him to watch ’em, and do for ’em, and tell about ’em. +That’s my fav’rite guess. ’Tany rate, the Head Man done +right,—I’m cert’in sure o’ that.</p> + +<p>And it <i>had</i> made the man nicer, and pleasanter spoken, and +kinder to folks, and partic’lar to creaturs. It had made him sort o’ +bend down, ’twas so hefty, and so he’d got to takin’ notice o’ teenty +little things nobody else scursely’d see,—mites o’ posies, and +cunnin’ little bugs, and creepin’, crawlin’ things. He took a heap o’ +comfort in ’em. And he told other folks ’bout them little things and +their little ways, and what they was made for, and things they could +learn us; and ’twas real int’restin’, and done folks good too.<span class='pagenum'><a name='Page_66' id='Page_66'>66</a></span></p> + +<p>And, deary me, he was that patient and good and uncomplainin’, you +never see! No, I ain’t a-cryin’. This was a stranger, this man, you +know, and I make a p’int o’ never cryin’ about strangers.</p> + +<p>There was a lot and a lot more kinds o’ folks with bundles, but I’m +only goin’ to tell ye about them four,—this time, any way.</p> + +<p>Well, come pay day, these folks all come up afore the Head Man to +be settled with. And fust he called up the man that had the bundle all +made out o’ things that had pricked him, and tripped him up, and +scratched him, and put him back on the road. And then he had up the +man with the money weighin’ him down,—the money he’d kep’ away +from poor folks and piled up on his own back. And then come the feller +that was carryin’ the heavy bundle<span class='pagenum'><a name='Page_67' id='Page_67'>67</a></span> folks had put on him when ’t +wa’n’t no fault o’ his’n, and that he might ’a’ got red of a long +spell back, if he’d only rec’lected what the Head Man had said ’bout +sech cases, and how they could be helped.</p> + +<p>I ain’t a-goin’ to tell ye what he said to them folks, ’cause ’t +ain’t my business, seems to me. Whether he punished either on ’em, or +scolded ’em, or sent ’em off to try ag’in, or what all, never mind. +Knowin’ ’s much as I do about the ways o’ that Head Man, I bet he made +’em feel terrible ashamed, any way.</p> + +<p>But when he came to the man with the bundle made out o’ flesh and +skin and things, he looks at him a minute, and then says he, the Head +Man does, “Why,” he says, “that’s my own work! I made that bundle, and +I fixed it on your back all myself. I hefted and I<span class='pagenum'><a name='Page_68' id='Page_68'>68</a></span> sized it, +and I hefted you and sized you. A mite of a young one you was then. I +made it jest hefty enough for you to carry, not a bit heftier, no more +nor less. I rec’lect it well,” he says. “I ain’t forgot it. I never +forgot it one minute sence I fitted in on, though mebbe you kind o’ +thought by spells that I had. And now,” he says—No, I can’t tell +ye what he says. It’s a secret, that is. But I don’t mind lettin’ ye +know that the man was sat’sfied, perfec’ly sat’sfied. A Angel told me +he was, and went on to say the man was dreadful pleased to find he’d +been wearin’ a bundle the Head Man hisself had made and fixed on him, +heftin’ it and sizin’ it, and heftin’ him and sizin’ him too, so’s +‘twa’n’t too much for him to carry. But he ain’t carryin’ it no more. +The Angel said so.</p> + +<hr class='major' /> +<div style='margin: auto; text-align: center; padding-top: 1em; padding-bottom: 1em;'> +<a name='VII' id='VII'></a> +<span class='pagenum'><a name='Page_69' id='Page_69'>69</a></span> +<h2>The Boy that was Scaret o’ Dyin’</h2><h3>VII</h3> +</div> + +<p><span class='pagenum'><a name='Page_71' id='Page_71'>71</a></span>I +Have told you that little Lib was a delicate child, and that she grew +more and more fragile and weak as the summer went on. In the hot, dry +days of August she drooped like a thirsty flower, and her strength +failed very fast. Her voice, though still sweet and clear, lost its +shrillness, and one had to draw very close to the little speaker that +he might not lose a word of the stories she told. Aunt Jane York often +came out to us now, anxious and fussy, talking fretfully of and to +little Lib, feeling the small hands and feet to see if they were cold, +and drawing the shawl closer around the wasted form. I know she loved +the little girl, and perhaps she wished now that she had shown +that<span class='pagenum'><a name='Page_72' id='Page_72'>72</a></span> +love more tenderly. She talked freely, in the very presence of the +child, of her rapid decline and the probability that she would not +“last long.” Lib said nothing concerning her own condition, and showed +no sign of having heard her aunt’s comments. But one day, when Miss +York, after speaking very freely and plainly of the child’s +approaching end, had gone indoors, Lib announced, in a low, sweet +voice, a new story.</p> + +<h3><a name='The_Boy_that_was_Scaret' +id='The_Boy_that_was_Scaret'></a>The Boy that was Scaret o’ Dyin’</h3> + +<p>Once there was a boy that was dreadful scaret o’ dyin’. Some folks +is that way, you know; they ain’t never done it to know how it feels, +and they’re scaret. And this boy was that way. He wa’n’t very rugged, +his health was sort o’ slim, and mebbe that made him<span class='pagenum'><a name='Page_73' id='Page_73'>73</a></span> think +about sech things more. ’Tany rate, he was terr’ble scaret o’ dyin’. +’Twas a long time ago this was,—the times when posies and +creaturs could talk so’s folks could know what they was sayin’.</p> + +<p>And one day, as this boy, his name was Reuben,—I forget his +other name,—as Reuben was settin’ under a tree, an ellum tree, +cryin’, he heerd a little, little bit of a voice,—not squeaky, +you know, but small and thin and soft like,—and he see ’twas a +posy talkin’. ’Twas one o’ them posies they call Benjamins, with +three-cornered whitey blowths with a mite o’ pink on ’em, and it +talked in a kind o’ pinky-white voice, and it says, “What you cryin’ +for, Reuben?” And he says, “‘Cause I’m scaret o’ dyin’,” says he; “I’m +dreadful scaret o’ dyin’.” Well, what do you think? That posy jest +laughed,—the<span class='pagenum'><a name='Page_74' id='Page_74'>74</a></span> most cur’us little pinky-white laugh ’t +was,—and it says, the Benjamin says: “Dyin’! Scaret o’ dyin’? +Why, I die myself every single year o’ my life.” “Die yourself!” says +Reuben. “You ’re foolin’; you’re alive this minute.” “’Course I be,” +says the Benjamin; “but that’s neither here nor there,—I’ve died +every year sence I can remember.” “Don’t it hurt?” says the boy. “No, +it don’t,” says the posy; “it’s real nice. You see, you get kind o’ +tired a-holdin’ up your head straight and lookin’ peart and wide +awake, and tired o’ the sun shinin’ so hot, and the winds blowin’ you +to pieces, and the bees a-takin’ your honey. So it’s nice to feel +sleepy and kind o’ hang your head down, and get sleepier and sleepier, +and then find you’re droppin’ off. Then you wake up jest ’t the nicest +time o’ year, and come up and look ’round, and—why, I<span class='pagenum'><a name='Page_75' id='Page_75'>75</a></span> like to +die, I do.” But someways that didn’t help Reuben much as you’d think. +“I ain’t a posy,” he think to himself, “and mebbe I wouldn’t come +up.”</p> + +<p>Well, another time he was settin’ on a stone in the lower pastur’, +cryin’ again, and he heerd another cur’us little voice. ’t wa’n’t like +the posy’s voice, but ’twas a little, wooly, soft, fuzzy voice, and he +see ’t was a caterpillar a-talkin’ to him. And the caterpillar says, +in his fuzzy little voice, he says, “What you cryin’ for, Reuben?” And +the boy, he says, “I’m powerful scaret o’ dyin’, that’s why,” he says. +And that fuzzy caterpillar he laughed. “Dyin’!” he says. “I’m lottin’ +on dyin’ myself. All my fam’ly,” he says, “die every once in a while, +and when they wake up they’re jest splendid,—got wings, and fly +about, and live on honey and things.<span class='pagenum'><a name='Page_76' id='Page_76'>76</a></span> Why, I wouldn’t miss it for +anything!” he says. “I’m lottin’ on it.” But somehow that didn’t chirk +up Reuben much. “I ain’t a caterpillar,” he says, “and mebbe I +wouldn’t wake up at all.”</p> + +<p>Well, there was lots o’ other things talked to that boy, and tried +to help him,—trees and posies and grass and crawlin’ things, +that was allers a-dyin’ and livin’, and livin’ and dyin’. Reuben +thought it didn’t help him any, but I guess it did a little mite, for +he couldn’t help thinkin’ o’ what they every one on ’em said. But he +was scaret all the same.</p> + +<p>And one summer he begun to fail up faster and faster, and he got so +tired he couldn’t hardly hold his head up, but he was scaret all the +same. And one day he was layin’ on the bed, and lookin’ out o’ the +east winder, and the sun kep’ a-shinin’ in his eyes till he shet ’em +up,<span class='pagenum'><a name='Page_77' id='Page_77'>77</a></span> +and he fell asleep. He had a real good nap, and when he woke up he +went out to take a walk.</p> + +<p>And he begun to think o’ what the posies and trees and creaturs had +said about dyin’, and how they laughed at his bein’ scaret at it, and +he says to himself, “Why, someways I don’t feel so scaret to-day, but +I s’pose I be.” And jest then what do you think he done? Why, he met a +Angel. He’d never seed one afore, but he knowed it right off. And the +Angel says, “Ain’t you happy, little boy?” And Reuben says, “Well, I +would be, only I’m so dreadful scaret o’ dyin’. It must be terr’ble +cur’us,” he says, “to be dead.” And the Angel says, “Why, you be +dead.” And he was.</p> + +<hr style='width: 45%;' /> + +<p>The story of the boy that was scaret o’ dyin’ was the last story +that little Lib<span class='pagenum'><a name='Page_78' id='Page_78'>78</a></span> ever told us. We saw her sometimes after +that, but she was not strong enough to talk much. She sat no longer +now in the low chair under the maples, but lay on a chintz-covered +couch in the sitting-room, by the west windows. The once shrilly-sweet +voice with its clear bird tones was but a whisper now, as she told us +over and again, while she lay there, that she would tell us a new +story “to-morrow.” It was always “to-morrow” till the end came. And +the story was to be, so the whisper went on, “the beautif’lest +story,—oh, you never did!” And its name was to be,—what a +faint and feeble reproduction of the old triumphant announcement of a +new title!—“The Posy Gardin’ that the King Kep’.”</p> + +<p>She never told us that story. Before the autumn leaves had fallen, +while the maples in front of the farmhouse were<span class='pagenum'><a name='Page_79' id='Page_79'>79</a></span> still red +and glorious in their dying beauty, we laid our little friend to rest. +Perhaps she will tell us the tale some day. I am sure there will be “a +Angel” in it,—sure, too, that the story will have a new and +tender meaning if we hear it there, that story of the King and of the +posy gardin’ he kep’.</p> + +<hr class='full' /> + +<div class='tnote'><h3>Transcriber’s Notes</h3> +<ol> +<li>Punctuation has been normalized to contemporary standards.</li> +<li>Unusual spelling in chapter titles retained.</li> +</ol> +</div> + + + + + + + + +<pre> + + + + + +End of Project Gutenberg's Story-Tell Lib, by Annie Trumbull Slosson + +*** END OF THIS PROJECT GUTENBERG EBOOK STORY-TELL LIB *** + +***** This file should be named 19989-h.htm or 19989-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/9/8/19989/ + +Produced by Roger Frank and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +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: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +*** END: FULL LICENSE *** + + + +</pre> + +</body> +</html> + diff --git a/19989-h/images/illus-em2.jpg b/19989-h/images/illus-em2.jpg Binary files differnew file mode 100644 index 0000000..8fc5ac9 --- /dev/null +++ b/19989-h/images/illus-em2.jpg diff --git a/19989-h/images/illus-emb.jpg b/19989-h/images/illus-emb.jpg Binary files differnew file mode 100644 index 0000000..233456b --- /dev/null +++ b/19989-h/images/illus-emb.jpg diff --git a/19989-h/images/illus-fpc.jpg b/19989-h/images/illus-fpc.jpg Binary files differnew file mode 100644 index 0000000..60acc00 --- /dev/null +++ b/19989-h/images/illus-fpc.jpg diff --git a/19989.txt b/19989.txt new file mode 100644 index 0000000..595e6c2 --- /dev/null +++ b/19989.txt @@ -0,0 +1,1309 @@ +The Project Gutenberg EBook of Story-Tell Lib, by Annie Trumbull Slosson + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Story-Tell Lib + +Author: Annie Trumbull Slosson + +Release Date: December 1, 2006 [EBook #19989] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK STORY-TELL LIB *** + + + + +Produced by Roger Frank and the Online Distributed +Proofreading Team at http://www.pgdp.net + + + + + +Story-Tell Lib + +----------------------------------------------------------------------- + +[Illustration] + +------------------------------------------------------------------------- + +Story-Tell Lib + +By +Annie Trumbull Slosson + +Author of "Fishin' Jimmy" + +CHARLES SCRIBNER'S SONS +NEW YORK . . . . . 1908 + +------------------------------------------------------------------------- + +_Copyright, 1900_ +BY CHARLES SCRIBNER'S SONS +_All rights reserved_ + +------------------------------------------------------------------------- + + CONTENTS + + PAGE + + I. STORY-TELL LIB 3 + II. THE SHET-UP POSY 13 + III. THE HORSE THAT B'LEEVED HE'D GET THERE 25 + IV. THE PLANT THAT LOST ITS BERRY 37 + V. THE STONY HEAD 47 + VI. DIFF'ENT KIND O' BUNDLES 57 + VII. THE BOY THAT WAS SCARET O' DYIN' 71 + +------------------------------------------------------------------------- + + + + +STORY-TELL LIB + +I + +Story-Tell Lib + + +That was what everybody in the little mountain village called her. Her +real name, as she often told me, ringing out each syllable proudly in +her shrill sweet voice, was Elizabeth Rowena Marietta York. A stately +name, indeed, for the little crippled, stunted, helpless creature, and I +myself could never think of her by any name but the one the village +people used, Story-tell Lib. I had heard of her for two or three summers +in my visits to Greenhills. The village folk had talked to me of the +little lame girl who told such pretty stories out of her own head, "kind +o' fables that learnt folks things, and helped 'em without bein' too +preachy." But I had no definite idea of what the child was till I saw +and heard her myself. She was about thirteen years of age, but very +small and fragile. She was lame, and could walk only with the aid of a +crutch. Indeed, she could but hobble painfully, a few steps at a time, +with that assistance. Her little white face was not an attractive one, +her features being sharp and pinched, and her eyes faded, dull, and +almost expressionless. Only the full, prominent, rounding brow spoke of +a mind out of the common. She was an orphan, and lived with her aunt, +Miss Jane York, in an old-fashioned farmhouse on the upper road. + +Miss Jane was a good woman. She kept the child neatly clothed and +comfortably fed, but I do not think she lavished many caresses or loving +words on little Lib, it was not her way, and the girl led a lonesome, +quiet, unchildlike life. Aunt Jane tried to teach her to read and write, +but, whether from the teacher's inability to impart knowledge, or from +some strange lack in the child's odd brain, Lib never learned the +lesson. She could not read a word, she did not even know her alphabet. I +cannot explain to myself or to you the one gift which gave her her +homely village name. She told stories. I listened to many of them, and I +took down from her lips several of these. They are, as you will see if +you read them, "kind o' fables," as the country folk said. They were all +simple little tales in the dialect of the hill country in which she +lived. But each held some lesson, suggested some truth, which, strangely +enough, the child herself did not seem to see; at least, she never +admitted that she saw or intended any hidden meaning. + +I often questioned her as to this after we became friends. After +listening to some tale in which I could discern just the lovely truth +which would best help some troubled soul in her audience, I have +questioned her as to its meaning. I can see now, in memory, the +short-sighted, expressionless eyes of faded blue which met mine as she +said, "Don't mean anything,--it don't. It's jest a story. Stories don't +have to mean things; they're stories, and I tells 'em." That was all she +would say, and the mystery remained. What did it mean? Whence came that +strange power of giving to the people who came to her something to help +and cheer, both help and cheer hidden in a simple little story? Was it, +as I like to think, God-given, a treasure sent from above? Or would you +rather think it an inheritance from some ancestor, a writer, a teller of +tales? Or perhaps you believe in the transmigration of souls, and think +that the spirit of some AEsop of old, who spoke in parables, had entered +the frail crippled body of our little Lib, and spoke through her pinched +pale lips. I leave you your theories, I keep my own. + +But one thing which I find I have omitted thus far may seem to you to +throw a little light on this matter. It does not help me much. Lib was a +wonderful listener, as well as a narrator. Miss Jane sometimes took an +occasional boarder. Teachers, clergymen, learned professors, had from +time to time tarried under her roof. And while these talked to one +another, or to some visitor from neighboring hotels, little Lib would +sit motionless and silent by the hour. One would scarcely call it +listening; to listen seems too active a verb in this case. The girl's +face wore no eager look of interest, the faded, short-sighted eyes did +not light up with intelligence, nor the features quiver with varied +emotions. If she received ideas from what fell upon her ears, it must +have been by a sort of unconscious absorption. She took it in as the +earth does the rain or the flower the sunshine. And so it was with any +reading aloud from book or paper. She would sit, utterly quiet, while +the reader's voice went on, and nothing could draw her away till it was +ended. Question her later as to what was read or spoken of, and you +gained no satisfaction. If she had any idea of what she had heard, she +had not the power of putting it into words. "I like it. I like it lots," +she would say; that was all. + +Throughout the whole summer in which I knew the child, the summer which +came so quickly, so sadly, to an end, little Lib sat, on bright, fair +days, in a low wooden chair under the maples in front of the farmhouse. +And it had grown to be the custom of her many friends, both young and +old, to gather there, and listen to her stories, if she had any to tell. +I often joined the group of listeners. On many, many days, as the season +advanced, Lib had no words for us. She had always been a fragile, puny +little creature, and this year she seemed to grow weaker, thinner, more +waxen white, each day. She had a wonderful voice, shrill, far-reaching, +but strangely sweet and clear, with a certain vibrating, reedy, +bird-like quality, which even yet thrills me as I recall it. + +I am going to tell you a few of the little stories, pictures, fables, +parables, allegories,--I scarcely know what to call them,--which I heard +Story-tell Lib relate. The words are her own, but I cannot give you the +sweet tones, the quaint manner, the weird, strange personality, of the +little narrator. Let me say here that often the little parables seemed +meant to cheer and lift up Lib's own trembling soul, shut up in the +frail, crippled body. Meant, I say; perhaps that is not the right word. +For did she mean anything by these tales, at least consciously? Be that +as it may, certain of these little stories seemed to touch her own case +strangely. + + + + +The Shet-up Posy + +II + + +The first story I ever heard the child tell was one of those which +seemed to hold comfort and cheer for herself or for humble little souls +like her. It was a story of the closed gentian, the title of which she +announced, as she always did, loudly, and with an amusing little air of +self-satisfaction. + + +The Shet-up Posy + +Once there was a posy. 'T wa'n't a common kind o' posy, that blows out +wide open, so's everybody can see its outsides and its insides too. +But 't was one of them posies like what grows down the road, back o' your +pa's sugar-house, Danny, and don't come till way towards fall. They're +sort o' blue, but real dark, and they look 's if they was buds 'stead +o' posies,--only buds opens out, and these doesn't They're all shet up +close and tight, and they never, never, never opens. Never mind how much +sun they get, never mind how much rain or how much drouth, whether it's +cold or hot, them posies stay shet up tight, kind o' buddy, and not +finished and humly. But if you pick 'em open, real careful, with a +pin,--I've done it,--you find they're dreadful pretty inside. + +You couldn't see a posy that was finished off better, soft and nice, +with pretty little stripes painted on 'em, and all the little things +like threads in the middle, sech as the open posies has, standing up, +with little knots on their tops, oh, so pretty,--you never did! Makes +you think real hard, that does; leastways, makes me. What's they that +way for? If they ain't never goin' to open out, what's the use o' havin' +the shet-up part so slicked up and nice, with nobody never seem' it? +Folks has different names for 'em, dumb foxgloves, blind genshuns, and +all that, but I allers call 'em the shet-up posies. + +Well, 't was one o' that kind o' posy I was goin' to tell you about. +'Twas one o' the shet-uppest and the buddiest of all on 'em, all +blacky-blue and straight up and down, and shet up fast and tight. +Nobody'd ever dream't was pretty inside. And the funniest thing, it +didn't know 'twas so itself! It thought 'twas a mistake somehow, thought +it had oughter been a posy, and was begun for one, but wa'n't finished, +and 'twas terr'ble unhappy. It knew there was pretty posies all 'round +there, goldenrod and purple daisies and all; and their inside was the +right side, and they was proud of it, and held it open, and showed the +pretty lining, all soft and nice with the little fuzzy yeller threads +standin' up, with little balls on their tip ends. And the shet-up posy +felt real bad; not mean and hateful and begrudgin', you know, and +wantin' to take away the nice part from the other posies, but sorry, and +kind o' 'shamed. + +"Oh, deary me!" she says,--I most forgot to say 'twas a girl +posy,--"deary me, what a humly, skimpy, awk'ard thing I be! I ain't +more 'n half made; there ain't no nice, pretty lining inside o' me, like +them other posies; and on'y my wrong side shows, and that's jest plain +and common. I can't chirk up folks like the goldenrod and daisies does. +Nobody won't want to pick me and carry me home. I ain't no good to +anybody, and I never shall be." + +So she kep' on, thinkin' these dreadful sorry thinkin's, and most +wishin' she'd never been made at all. You know 't wa'n't jest at fust +she felt this way. Fust she thought she was a bud, like lots o' buds all +'round her, and she lotted on openin' like they did. But when the days +kep' passin' by, and all the other buds opened out, and showed how +pretty they was, and she didn't open, why, then she got terr'ble +discouraged; and I don't wonder a mite. + +She'd see the dew a-layin' soft and cool on the other posies' faces, and +the sun a-shinin' warm on 'em as they held 'em up, and sometimes she'd +see a butterfly come down and light on 'em real soft, and kind o' put +his head down to 'em, 's if he was kissin' 'em, and she thought 'twould +be powerful nice to hold her face up to all them pleasant things. But +she couldn't. + +But one day, afore she'd got very old, 'fore she'd dried up or fell +off, or anything like that, she see somebody comin' along her way. 'Twas +a man, and he was lookin' at all the posies real hard and partic'lar, +but he wasn't pickin' any of 'em. Seems 's if he was lookin' for +somethin' diff'rent from what he see, and the poor little shet-up posy +begun to wonder what he was arter. Bimeby she braced up, and she asked +him about it in her shet-up, whisp'rin' voice. And says he, the man +says: "I'm a-pickin' posies. That's what I work at most o' the time. 'T +ain't for myself," he says, "but the one I work for. I'm on'y his help. +I run errands and do chores for him, and it's a partic'lar kind o' posy +he's sent me for to-day." "What for does he want 'em?" says the shet-up +posy. "Why, to set out in his gardin," the man says. "He's got the +beautif'lest gardin you never see, and I pick posies for 't." "Deary +me," thinks she to herself, "I jest wish he'd pick me. But I ain't the +kind, I know." And then she says, so soft he can't hardly hear her, +"What sort o' posies is it you're arter this time?" "Well," says the +man, "it's a dreadful sing'lar order I've got to-day. I got to find a +posy that's handsomer inside than 't is outside, one that folks ain't +took no notice of here, 'cause 'twas kind o' humly and queer to look at, +not knowin' that inside 'twas as handsome as any posy on the airth. Seen +any o' that kind?" says the man. + +Well, the shet-up posy was dreadful worked up. "Deary dear!" she says to +herself, "now if they'd on'y finished me off inside! I'm the right kind +outside, humly and queer enough, but there's nothin' worth lookin' at +inside,--I'm certin sure o' that." But she didn't say this nor anything +else out loud, and bimeby, when the man had waited, and didn't get any +answer, he begun to look at the shet-up posy more partic'lar, to see why +she was so mum. And all of a suddent he says, the man did, "Looks to +me's if you was somethin' that kind yourself, ain't ye?" "Oh, no, no, +no!" whispers the shet-up posy. "I wish I was, I wish I was. I'm all +right outside, humly and awk'ard, queer's I can be, but I ain't pretty +inside,--oh! I most know I ain't." "I ain't so sure o' that myself," +says the man, "but I can tell in a jiffy." "Will you have to pick me to +pieces?" says the shet-up posy. "No, ma'am," says the man; "I've got a +way o' tellin', the one I work for showed me." The shet-up posy never +knowed what he done to her. I don't know myself, but 'twas somethin' +soft and pleasant, that didn't hurt a mite, and then the man he says, +"Well, well, well!" That's all he said, but he took her up real gentle, +and begun to carry her away. "Where be ye takin' me?" says the shet-up +posy. "Where ye belong," says the man; "to the gardin o' the one I work +for," he says. "I didn't know I was nice enough inside," says the +shet-up posy, very soft and still. "They most gen'ally don't," says the +man. + + + + +The Horse that B'leeved he'd Get there + +III + + +Among those who sometimes came to listen to little Lib's allegories was +Mary Ann Sherman, a tall, dark, gloomy woman of whom I had heard much. +She was the daughter of old Deacon Sherman, a native of the village, who +had, some years before I came to Greenhills, died by his own hand, after +suffering many years from a sort of religious melancholia. Whether the +trouble was hereditary and his daughter was born with a tendency +inherited from her father, or whether she was influenced by what she +had heard of his life, and death, I do not know. But she was a dreary +creature with never a smile or a hopeful look upon her dark face. +Nothing to her was right or good; this world was a desert, her friends +had all left her, strangers looked coldly upon her. As for the future, +there was nothing to look forward to in this world or the next. As Dave +Moony, the village cynic, said, "Mary Ann wa'n't proud or set up about +nothin' but bein' the darter of a man that had c'mitted the onpar'nable +sin." Poor woman! her eyes were blinded to all the beauty and brightness +of this world, to the hope and love and joy of the next. What wonder +that one day, as she paused in passing the little group gathered around +Lib, and the child began the little story I give below, I thought it +well fitted to the gloomy woman's case! + + +The Horse that B'leeved he'd Get there + +You've seen them thrashin' machines they're usin' round here. The sort, +you know, where the horses keep steppin' up a board thing 's if they was +climbin' up-hill or goin' up a pair o' stairs, only they don't never get +along a mite; they keep right in the same place all the time, steppin' +and steppin', but never gittin' on. + +Well, I knew a horse once, that worked on one o' them things. His name +was Jack, and he was a nice horse. First time they put him on to thrash, +he didn't know what the machine was, and he walked along and up the +boards quick and lively, and he didn't see why he didn't get on faster. +There was a horse side of him named Billy, a kind o' frettin', cross +feller, and he see through it right off. + +"Don't you go along," he says to Jack; "'t ain't no use; you won't never +get on, they're foolin' us, and I won't give in to 'em." So Billy he +hung back and shook his head, and tried to get away, and to kick, and +the man whipped him, and hollered at him. But Jack, he went on quiet and +quick and pleasant, steppin' away, and he says softly to Billy, "Come +along," he says; "it's all right, we'll be there bimeby. Don't you see +how I'm gittin' on a'ready?" And that was the ways things went every +day. + +Jack never gin up; he climbed and climbed, and walked and walked, jest's +if he see the place he was goin' to, and 's if it got nearer and nearer. +And every night, when they took him off, he was as pleased with his +day's journey 's if he'd gone twenty mile. "I've done first-rate +to-day," he says to cross, kickin' Billy. "The roads was good, and I +never picked up a stone nor dropped a shoe, and I got on a long piece. +I'll be there pretty soon," says he. "Why," says Billy, "what a foolish +fellow you be! You've been in the same place all day, and ain't got on +one mite. What do you mean by _there_? Where is it you think you're +goin', anyway?" + +"Well, I don't 'zackly know," says Jack, "but I'm gittin' there real +spry. I 'most see it one time to-day." He didn't mind Billy's laughin' +at him, and tryin' to keep him from bein' sat'sfied. He jest went on +tryin' and tryin' to get there, and hopin' and believin' he would after +a spell. He was always peart and comfortable, took his work real easy, +relished his victuals and drink, and slept first rate nights. But Billy +he fretted and scolded and kicked and bit, and that made him hot and +tired, and got him whipped, and hollered at, and pulled, and yanked. You +see, he hadn't got anything in his mind to chirk him up, for he didn't +believe anything good was comin', as Jack did; he 'most knowed it +wasn't, but Jack 'most knowed it was. And Jack took notice of things +that Billy never see at all. He see the trees a-growin', and heered the +birds a-singin', and Injun Brook a-gugglin' along over the stones, and +he watched the butterflies a-flyin', and sometimes a big yeller 'n black +one would light right on his back. Jack took notice of 'em all, and he'd +say, "I'm gettin' along now, certin sure, for there's birds and posies +and flyin' things here I never see back along. I guess I'm most there." +"'There, there!'" Billy'd say. "Where is it, anyway? I ain't never seen +any o' them posies and creaturs you talk about, and I'm right side of +you on these old boards the whole time." + +And all the children round there liked Jack. They'd watch the two horses +workin', and they see Billy all cross and skittish, holdin' back and +shakin' his head and tryin' to kick, never takin' no notice o' them nor +anything. And, again, they see Jack steppin' along peart and spry, +pleasant and willin', turnin' his head when they come up to him, and +lookin' friendly at 'em out of his kind brown eyes, and they'd say, the +boys and girls would, "Good Jack! nice old Jack!" and they'd pat him, +and give him an apple, or a carrot, or suthin' good. But they didn't +give Billy any. They didn't like his ways, and they was 'most afraid +he'd bite their fingers. And Jack would say, come evenin', "It's gittin' +nicer and nicer we get further on the road,--ain't it? Folks is +pleasanter speakin', and the victuals 'pears better flavored, and +things is comfortabler every way, seems 's if, and I jedge by that we're +'most there." But Billy'd say, a-grumblin' away, "It's worse'n +worse,--young ones a-botherin' my life out o' me, and the birds +a-jabberin' and the posies a-smellin' till my head aches. Oh, deary me! +I'm 'most dead." So 't went on and kep' on. Jack had every mite as hard +work as Billy, but he didn't mind it, he was so full o' what was comin' +and how good 't would be to get there. And 'cause he was pleasant and +willin' and worked so good, and 'cause he took notice o' all the nice +things round him, and see new ones every day, he was treated real kind, +and never got tired and used up and low in his mind like Billy. Even the +flies didn't pester him's they done Billy, for he on'y said, when he +felt 'em bitin' and crawlin', "Dog-days is come," says he, "for here's +the flies worse and worse. So the summer's most over, and I'll get there +in a jiffy now." + +"What am I stoppin' for," do you say, 'Miry? 'Cause that's all. You +needn't make sech a fuss, child'en. It's done, this story is, I tell ye. +Leastways I don't know any more on it. I told you all about them two +horses, and which had a good time and which didn't, and what 'twas made +the differ'nce 'twixt 'em. But you want to know whether Jack got there. +Well, I don't know no more 'n the horses did what _there_ was, but in my +own mind I b'leeve he got it. Mebbe 't was jest dyin' peaceful and quiet, +and restin' after all that steppin' and climbin'. He'd a-liked that, +partic'lar when he knowed the folks was sorry to have him go, and would +allus rec'lect him. Mebbe 't was jest livin' on and on, int'rested and +enjoyin', and liked by folks, and then bein' took away from the hard +work and put out to pastur' for the rest o' his days. Mebbe 'twas--Oh! I +d'know. Might 'a' been lots o' things, but I feel pretty certin sure he +got it, and he was glad he hadn't gi'n up b'leevin' 't would come. For +you 'member, all the time when Billy 'most knowed it wasn't, Jack 'most +knowed 'twas. + + + + +The Plant that Lost its Berry + +IV + + +It was a sad day in Greenhills when we knew that Susan Holcomb's little +Jerusha was dead. We all loved the child, and she was her mother's +dearest treasure. Susan was a widow, and this was her only child. A +pretty little creature she was, with yellow curls and dark-blue eyes, +rosy and plump and sturdy. But a sudden, sharp attack of croup seized +the child, and in a few hours she fell asleep. I need not tell you of +the mother's grief. She could not be comforted because her child was +not. One day a little neighbor, a boy with great faith--not wholly +misplaced--in the helpfulness of Story-tell Lib's little parables, +succeeded, with a child's art, in bringing the sad mother to the group +of listeners. And it was that day that Lib told this new story. + + +The Plant that Lost its Berry + +Once there was a plant, and it had jest one little berry. And the berry +was real pretty to look at. It was sort o' blue, with a kind o' whitey, +foggy look all over the blue, and it wa'n't round like huckleberries and +cramb'ries, but longish, and a little p'inted to each end. And the stem +it growed on, the little bit of a stem, you know, comin' out o' the +plant's big stem, like a little neck to the berry, was pinky and real +pretty. And this berry didn't have a lot o' teenty little seeds inside +on it, like most berries, but it jest had one pretty white stone in it, +with raised up streaks on it. + +The plant set everything by her little berry. She thought there never +was in all the airth sech a beautiful berry as hern,--so pretty shaped +and so whitey blue, with sech a soft skin and pinky neck, and more +partic'lar with that nice, white, striped stone inside of it. She held +it all day and all night tight and fast. When it rained real hard, and +the wind blowed, she kind o' stretched out some of her leaves, and +covered her little berry up, and she done the same when the sun was too +hot. And the berry growed and growed, and was so fat and smooth and +pretty! And the plant was jest wropped up in her little berry, lovin' it +terr'ble hard, and bein' dreadful proud on it, too. + +Well, one day, real suddent, when the plant wasn't thinkin' of any storm +comin', a little wind riz up. 'T wa'n't a gale, 't wa'n't half as hard a +blow as the berry'd seen lots o' times and never got hurt nor nothin'. +And the plant wa'n't lookin' out for any danger, when all of a suddent +there come a little bit of a snap, and the slimsy little pink stem +broke, and the little berry fell and rolled away, and, 'fore you could +say "Jack Robinson," 't was clean gone out o' sight. I can't begin to +tell ye how that plant took on. Seem 's if she'd die, or go ravin' +crazy. It's only folks that has lost jest what they set most by on airth +that can understand about it, I s'pose. She wouldn't b'leeve it fust +off; she 'most knowed she'd wake up and feel her little berry a-holdin' +close to her, hangin' on her, snugglin' up to her under the shady +leaves. The other plants 'round there tried to chirk her up and help +her. One on 'em told her how it had lost all its little berries itself, +a long spell back, and how it had some ways stood it and got over it. +"But they wa'n't like mine," thinks the poor plant. "There never, never +was no berry like mine, with its pretty figger, its pinky, slim little +neck, and its soft, smooth-feelin' skin." And another plant told her +mebbe her berry was saved from growin' up a trouble to her, gettin' bad +and hard, with mebbe a worm inside on it, to make her ashamed and sorry. +"Oh, no, no!" thinks the mother plant. "My berry'd never got bad and +hard, and I'd 'a' kep' any worm from touchin' its little white heart." +Not a single thing the plant-folks said to her done a mite o' good. +Their talk only worried her and pestered her, when she jest wanted to be +let alone, so's she could think about her little berry all to herself. + +Just where the berry used to hang, and where the little pinky stem broke +off, there was a sore place, a sort o' scar, that ached and smarted all +day and all night, and never, never healed up. And bimeby the poor plant +got all wore out with the achin' and the mournin' and the missin' and +she 'peared to feel her heart all a-dryin' up and stoppin', and her +leaves turned yeller and wrinkled, and--she was dead. She couldn't live +on, ye see, without her little berry. + +They called it bein' dead, folks did, and it looked like it, for there +she lay without a sign of life for a long, long, long spell. 'Twas for +days and weeks and months anyway. But it didn't seem so long to the +mother plant. She shet up her eyes, feelin' powerful tired and lonesome, +and the next thing she knowed she opened 'em again, and she was wide +awoke. She hardly knowed herself, though, she was so fresh and juicy and +'live, so kind o' young every way. Fust off she didn't think o' anything +but that, how good and well she felt, and how beautiful things was all +'round her. Then all of a suddent she rec'lected her little berry, and +she says to herself, "Oh, dear, dear me! If only my own little berry +was here to see me now, and know how I feel!" She thought she said it to +herself, but mebbe she talked out loud, for, jest as she said it, +somebody answered her. 'T was a Angel, and he says, "Why your little +berry does see you,--look there." And she looked, and she see he was +p'intin' to the beautif'lest little plant you never see,--straight and +nice, with little bits o' soft green leaves, with the sun a-shinin' +through 'em, and,--well, somehow, you never can get it through your head +how mothers take in things,--she knowed cert'in sure that was her little +berry. + +The Angel begun to speak. He was goin' to explain how, if she hadn't +never lost her berry, 'twouldn't never 'a' growed into this pretty +plant, but, he see, all of a suddent, that he needn't take the trouble. +She showed in her face she knowed all about it,--every blessed thing. I +tell ye, even angels ain't much use explainin' when there's mothers, and +it's got to do with their own child'en. Yes, the mother plant see it +all, without tellin'. She was jest a mite 'shamed but she was terr'ble +pleased. + + + + +The Stony Head + +V + + +When little Lib told the story I give below, Deacon Zenas Welcome was +one of the listeners. The deacon was a son of old Elder Welcome who had +been many years before the pastor of the little church in a neighboring +village. Elder Welcome was one of the old-fashioned sort not so common +in these days, a good man, but stern and somewhat harsh. He preached +only the terrors of the law, dwelt much upon the doctrines, the decrees, +election, predestination, and eternal punishment, and rarely lingered +over such themes as the fatherhood of God, his love to mankind, and his +wonderful gift to a lost world. The son followed in his father's +footsteps. He was a hard, austere, melancholy man, undemonstrative and +reticent, shutting out all brightness from his own life, and clouding +many an existence going on around him. I have always thought that his +unwonted presence among us that day had a purpose, and that he had come +to spy out some taint of heterodoxy in Lib's tales, to reprove and +condemn. He went away quietly, however, when the story was ended, and we +heard nothing of reproof or condemnation. + + +The Stony Head + +Once there was somethin' way up on the side of a mountain that looked +like a man's head. The rocks up there'd got fixed so's they jest made a +great big head and face, and everybody could see it as plain as could +be. Folks called it the Stony Head, and they come to see it from miles +away. There was a man lived round there jest where he could see the +head from his winder. He was a man that things had gone wrong with all +along; he'd had lots o' trouble, and he didn't take it very easy. He +fretted and complained, and blamed it on other folks, and more +partic'lar on--God. And one day--he'd jest come to live in them +parts--he looked out of his winder, and he see, standin' out plain ag'in +the sky, he see that Stony Head. It looked real ha'sh and hard and stony +and dark, and all of a suddent the man thought it was--God. + +"Yes," he says to hisself, "that's jest the way I 'most knowed he +looked, ha'sh and hard and stony and dark, and that's him." The man was +dreadful scaret of it, but some ways he couldn't stop lookin' at it. And +bimeby he shet hisself up there all alone, and spent his whole time jest +a-lookin' at that hard, stony face, and thinkin' who't was, and who'd +brought all his trouble on him. There was poor folks all 'round that +deestrict, but he never done nothin' to help 'em; let 'em be hungry or +thirsty or ailin', or shet up in jail, or anything, he never helped 'em +or done a thing for 'em, 'cause he was a-lookin' every single minute at +that head, and seein' how stony and hard it was, and bein' scaret of it +and the One he thought it looked like. + +Folks that was in trouble come along and knocked at his door, and he +never opened it a mite, even to see who was there. Sheep and lambs that +had got lost come a-strayin' into his yard, but he never took 'em in, +nor showed 'em the way home. He wa'n't no good to nobody, not even to +hisself, for he was terr'ble unhappy and scaret and angry. So 't went on, +oh! I d'know how long, years and years, I guess likely, and there the +man was shet up all alone, lookin' and lookin', and scaret at lookin' at +that ha'sh, hard, stony face and head. But one day, as he was settin' +there by the winder lookin', he heerd a little sound. I d'know what made +him hear it jest then. There'd been sech sounds as that time and time +ag'in, and he never took no notice. 'Twas like a child a-cryin', and +that's common enough. + +But this time it seemed diff'ent, and he couldn't help takin' notice. He +tried not to hear it, but he had to. 'T was a little child a-cryin' as +if it had lost its way and was scaret, and the man found he couldn't +stand it somehow. Mebbe the reason was he'd had a little boy of his own +once, and he lost him. Now I think on 't, that was one o' the things he +blamed on God, and thought about when he looked at the Stone Head. +Anyway, he couldn't stand this cryin' that time, and he started up, and, +fust thing he knowed, he'd opened the door and gone out. He hadn't been +out in the sunshine and the air for a long spell, and it made his head +swimmy at fust. But he heerd the little cryin' ag'in, and he run along +on to find the child. But he couldn't find it; every time he'd think he +was close to it, he'd hear the cryin' a little further off. And he'd go +on and on, a-stumblin' over stones and fallin' over logs and a-steppin' +into holes, but stickin' to it, and forgettin' everything only that +little cryin' voice ahead of him. Seems 's if he jest must find that +little lost boy or girl, 's if he'd be more 'n willin' to give up his own +poor lonesome old life to save that child. And, jest 's he come to +thinkin' that, he see somethin' ahead of him movin' and in a minute he +knowed he'd found the lost child. + +'Fore he thought what he was a-doin', he got down on his knees jest's he +used to do 'fore he got angry at God, and was goin' to thank him for +helpin' him to save that child. Then he rec'lected. It come back to him +who God was, and how he'd seed his head, with the ha'sh stony face up on +the mountain, and that made him look up to see it ag'in. + +And oh! what do you think he see? There was the same head up there,--he +couldn't make a mistake about that,--but the face, oh! the face was so +diff'ent. It wasn't ha'sh nor hard nor dark any more. There was such a +lovin', beautiful, kind sort o' look on it now. Some ways it made the +man think a mite of the way his father, that had died ever so long ago, +used to look at him when he was a boy, and had been bad, and then was +sorry and 'shamed. Oh, 't was the beautif'lest face you never see! "Oh! +what ever does it mean?" says the man out loud. "What's changed that +face so? Oh! what in the world's made it so diff'ent?" And jest that +minute a Angel come up close to him. 'T was a little young Angel, and I +guess mebbe 't was what he'd took for a lost child, and that he'd been +follerin' so fur. And the Angel says, "The face ain't changed a mite. +'Twas jest like that all the time, only you're lookin' at it from a +diff'ent p'int." And 'twas so, and he see it right off. He'd been +follerin' that cryin' so fur and so long that he'd got into a diff'ent +section o' country, and he'd got a diff'ent view, oh! a terr'ble +diff'ent view, and he never went back. + + + + +Diff'ent Kind o' Bundles + +VI + + +Everybody in Greenhills knew "Stoopin' Jacob," the little humpbacked boy +who lived at the north end of the village. From babyhood he had suffered +from a grievous deformity which rounded his little shoulders and bowed +the frail form. It was characteristic of the kindly folk of the +neighborhood, that, instead of calling the boy Hump-backed or +Crooked-backed Jacob, they gave him the name of Stoopin' Jacob, as if +the bowed and bent posture was voluntary, and not enforced. + +A lovely soul dwelt in that crooked, pain-racked body, and looked out +of the gentle brown eyes shining in the pale, thin little face. Every +one loved the boy, most of all the dogs, cats, horses, cows of the +little farms, the birds and animals of forest and brookside. He knew +them all, and they knew, loved, and trusted him. The tinier creatures, +such as butterflies, bees, ants, beetles, even caterpillars, downy or +smooth, were his friends, or seemed so. He knew them, watched them, +studied their habits, and was the little naturalist of Greenhills +village, consulted by all, even by older and wiser people. + +A close friendship existed between the boy and Story-tell Lib, and we +all understood the tale she told us one day when Stoopin' Jacob was one +of the listeners. + + +Diff'ent Kind o' Bundles + +Once there was a lot o' folks, and every single one on 'em had bundles +on their backs. But they was all diff'ent, oh! jest as diff'ent as--as +anything, the bundles was. And these folks all b'longed to one person, +that they called the Head Man. They was his folks, and nobody else's, +and he had the whole say, and could do anything he wanted to. But he was +real nice, and always done jest the best thing,--yes, sir, the bestest +thing, whatever folks might say against it. + +Well, I was tellin' ye about how these folks had diff'ent kind o' +bundles on their backs. 'Twas this way. One on 'em was a man that had a +real hefty bundle on his back, that he'd put on there hisself,--not all +to onct, but a mite to time, for years 'n' years. 'Twas a real cur'us +bundle, made up out o' little things in the road that'd got in his way, +or hurt him, or put him back. Some on 'em was jest little stones that +had hurt his feet, and some was little stingin' weeds that smarted him +as he went by 'em, and some was jest mites o' dirt somebody'd throwed at +him, not meanin' no great o' harm. He'd picked 'em all up, every bit o' +worryin', prickin', hurtin' little thing, and he'd piled 'em up on his +back till he had a big bundle that he allers carried about and never +forgot for a minute. + +He was f'rever lookin' out for sech troublin' things, too, and he'd see +'em way ahead on him in his road, and sometimes he'd think he see 'em +when there wa'n't any there't all. And, 'stead o' lettin' 'em lay where +they was, and goin' right ahead and forgettin' 'em, he'd pick every +single one on 'em up and pile 'em on that bundle, and carry 'em wherever +he went. + +And he was allers talkin' about 'em to folks, p'intin' out that little +stone that he'd stubbed his toe on, and this pesky weed that stung him, +and t'other little mite o' mud he'd conceited somebody'd throwed at him. +He fretted and scolded and complained 'bout 'em, and made out that +nobody never had so many tryin' things gettin' in his way as he had. He +never took into 'count, ye see, that he'd picked 'em up hisself and +piled 'em on his own back. If he'd jest let 'em lay, and gone along, +he'd 'a' forgot 'em all, I guess, after a spell. + +Then there was another man with a bundle, a cur'us one too, for 't was +all made out o' money, dreadful heavy and cold and hard to carry. Every +speck o' money he could scrape together he'd put in that bundle, till he +couldn't scursely heft it, 'twas that big and weighed so much. He had +plenty o' chances to make it lighter, for there was folks all along the +road that needed it bad,--little child'en that hadn't no clo'es nor no +victuals, and sick folks and old folks, every one on 'em needin' money +dreadful bad. But the man never gin 'em a mite. He kep' it all on his +back, a-hurtin' and weighin' him down. + +Then ag'in there was another man. He had a bundle that he didn't put on +his back hisself, nor the Head Man didn't nuther. Folks did it to him. +He hadn't done nothin' to deserve it, 't was jest put on him by other +people, and so 't was powerful hard to bear. But, ye see, the Head Man +had pervided partic'lar for them kind, and he'd said in public, so 't +everybody knowed about it, that he'd help folks like that,--said he'd +help 'em carry sech bundles hisself, or mebbe take 'em off, if it +'peared to be best. + +But this man disremembered that,--or, worse still, p'r'aps he didn't +'zackly believe it. So he went along all scrunched down with that hefty +bundle other folks had piled up on him, not scoldin' nor complainin' +nor gittin' mad about it, but jest thinkin' it had got to be, and nobody +could help him. But ye see it hadn't got to be, and somebody could 'a' +helped him. + +And then bimeby along come a man that had sech a hefty, hefty bundle! +'Twas right 'tween his shoulders, and it sort o' scrooched him down, and +it hurt him in his back and in his feelin's. The Head Man had put that +bundle on the man hisself when he was a little bit of a feller. He'd +made it out o' flesh and skin and things. It was jest ezackly like the +man's body, so 't when it ached he ached hisself. And he'd had to carry +that thing about all his born days. + +I don't know why the Head Man done it, I'm sure, but I know how good and +pleasant he was, and how he liked his folks and meant well to 'em, and +how he knowed jest what oughter be and what hadn't oughter be, so 't +stands to reason he'd done this thing a-purpose, and not careless like, +and he hadn't made no mistake. + +I've guessed a lot o' reasons why he done it. Mebbe he see the man +wouldn't 'a' done so well without the bundle,--might 'a' run off, 'way, +'way off from the Head Man and the work he had to do. Or, ag'in, p'r'aps +he wanted to make a 'zample of the man, and show folks how patient and +nice a body could be, even though he had a big, hefty bundle to carry +all his born days, one made out o' flesh and skin and things, and that +hurt dreadful. + +But my other guess is the one I b'leeve in most,--that the Head Man done +it to scrooch him down, so's he'd take notice o' little teenty things, +down below, that most folks never see, things that needed him to watch +'em, and do for 'em, and tell about 'em. That's my fav'rite guess. 'Tany +rate, the Head Man done right,--I'm cert'in sure o' that. + +And it _had_ made the man nicer, and pleasanter spoken, and kinder to +folks, and partic'lar to creaturs. It had made him sort o' bend down, +'twas so hefty, and so he'd got to takin' notice o' teenty little things +nobody else scursely'd see,--mites o' posies, and cunnin' little bugs, +and creepin', crawlin' things. He took a heap o' comfort in 'em. And he +told other folks 'bout them little things and their little ways, and +what they was made for, and things they could learn us; and 'twas real +int'restin', and done folks good too. + +And, deary me, he was that patient and good and uncomplainin', you never +see! No, I ain't a-cryin'. This was a stranger, this man, you know, and +I make a p'int o' never cryin' about strangers. + +There was a lot and a lot more kinds o' folks with bundles, but I'm only +goin' to tell ye about them four,--this time, any way. + +Well, come pay day, these folks all come up afore the Head Man to be +settled with. And fust he called up the man that had the bundle all made +out o' things that had pricked him, and tripped him up, and scratched +him, and put him back on the road. And then he had up the man with the +money weighin' him down,--the money he'd kep' away from poor folks and +piled up on his own back. And then come the feller that was carryin' the +heavy bundle folks had put on him when 't wa'n't no fault o' his'n, and +that he might 'a' got red of a long spell back, if he'd only rec'lected +what the Head Man had said 'bout sech cases, and how they could be +helped. + +I ain't a-goin' to tell ye what he said to them folks, 'cause 't ain't +my business, seems to me. Whether he punished either on 'em, or scolded +'em, or sent 'em off to try ag'in, or what all, never mind. Knowin' 's +much as I do about the ways o' that Head Man, I bet he made 'em feel +terrible ashamed, any way. + +But when he came to the man with the bundle made out o' flesh and skin +and things, he looks at him a minute, and then says he, the Head Man +does, "Why," he says, "that's my own work! I made that bundle, and I +fixed it on your back all myself. I hefted and I sized it, and I hefted +you and sized you. A mite of a young one you was then. I made it jest +hefty enough for you to carry, not a bit heftier, no more nor less. I +rec'lect it well," he says. "I ain't forgot it. I never forgot it one +minute sence I fitted in on, though mebbe you kind o' thought by spells +that I had. And now," he says--No, I can't tell ye what he says. It's a +secret, that is. But I don't mind lettin' ye know that the man was +sat'sfied, perfec'ly sat'sfied. A Angel told me he was, and went on to +say the man was dreadful pleased to find he'd been wearin' a bundle the +Head Man hisself had made and fixed on him, heftin' it and sizin' it, +and heftin' him and sizin' him too, so's 'twa'n't too much for him to +carry. But he ain't carryin' it no more. The Angel said so. + + + + +The Boy that was Scaret o' Dyin' + +VII + + +I have told you that little Lib was a delicate child, and that she grew +more and more fragile and weak as the summer went on. In the hot, dry +days of August she drooped like a thirsty flower, and her strength +failed very fast. Her voice, though still sweet and clear, lost its +shrillness, and one had to draw very close to the little speaker that he +might not lose a word of the stories she told. Aunt Jane York often came +out to us now, anxious and fussy, talking fretfully of and to little +Lib, feeling the small hands and feet to see if they were cold, and +drawing the shawl closer around the wasted form. I know she loved the +little girl, and perhaps she wished now that she had shown that love +more tenderly. She talked freely, in the very presence of the child, of +her rapid decline and the probability that she would not "last long." +Lib said nothing concerning her own condition, and showed no sign of +having heard her aunt's comments. But one day, when Miss York, after +speaking very freely and plainly of the child's approaching end, had +gone indoors, Lib announced, in a low, sweet voice, a new story. + + +The Boy that was Scaret o' Dyin' + +Once there was a boy that was dreadful scaret o' dyin'. Some folks is +that way, you know; they ain't never done it to know how it feels, and +they're scaret. And this boy was that way. He wa'n't very rugged, his +health was sort o' slim, and mebbe that made him think about sech things +more. 'Tany rate, he was terr'ble scaret o' dyin'. 'Twas a long time +ago this was,--the times when posies and creaturs could talk so's folks +could know what they was sayin'. + +And one day, as this boy, his name was Reuben,--I forget his other +name,--as Reuben was settin' under a tree, an ellum tree, cryin', he +heerd a little, little bit of a voice,--not squeaky, you know, but small +and thin and soft like,--and he see 'twas a posy talkin'. 'Twas one o' +them posies they call Benjamins, with three-cornered whitey blowths with +a mite o' pink on 'em, and it talked in a kind o' pinky-white voice, and +it says, "What you cryin' for, Reuben?" And he says, "'Cause I'm scaret +o' dyin'," says he; "I'm dreadful scaret o' dyin'." Well, what do you +think? That posy jest laughed,--the most cur'us little pinky-white laugh +'t was,--and it says, the Benjamin says: "Dyin'! Scaret o' dyin'? Why, I +die myself every single year o' my life." "Die yourself!" says Reuben. +"You 're foolin'; you're alive this minute." "'Course I be," says the +Benjamin; "but that's neither here nor there,--I've died every year +sence I can remember." "Don't it hurt?" says the boy. "No, it don't," +says the posy; "it's real nice. You see, you get kind o' tired a-holdin' +up your head straight and lookin' peart and wide awake, and tired o' the +sun shinin' so hot, and the winds blowin' you to pieces, and the bees +a-takin' your honey. So it's nice to feel sleepy and kind o' hang your +head down, and get sleepier and sleepier, and then find you're droppin' +off. Then you wake up jest 't the nicest time o' year, and come up and +look 'round, and--why, I like to die, I do." But someways that didn't +help Reuben much as you'd think. "I ain't a posy," he think to himself, +"and mebbe I wouldn't come up." + +Well, another time he was settin' on a stone in the lower pastur', +cryin' again, and he heerd another cur'us little voice. 'T wa'n't like +the posy's voice, but 'twas a little, wooly, soft, fuzzy voice, and he +see 't was a caterpillar a-talkin' to him. And the caterpillar says, in +his fuzzy little voice, he says, "What you cryin' for, Reuben?" And the +boy, he says, "I'm powerful scaret o' dyin', that's why," he says. And +that fuzzy caterpillar he laughed. "Dyin'!" he says. "I'm lottin' on +dyin' myself. All my fam'ly," he says, "die every once in a while, and +when they wake up they're jest splendid,--got wings, and fly about, and +live on honey and things. Why, I wouldn't miss it for anything!" he +says. "I'm lottin' on it." But somehow that didn't chirk up Reuben much. +"I ain't a caterpillar," he says, "and mebbe I wouldn't wake up at +all." + +Well, there was lots o' other things talked to that boy, and tried to +help him,--trees and posies and grass and crawlin' things, that was +allers a-dyin' and livin', and livin' and dyin'. Reuben thought it +didn't help him any, but I guess it did a little mite, for he couldn't +help thinkin' o' what they every one on 'em said. But he was scaret all +the same. + +And one summer he begun to fail up faster and faster, and he got so +tired he couldn't hardly hold his head up, but he was scaret all the +same. And one day he was layin' on the bed, and lookin' out o' the east +winder, and the sun kep' a-shinin' in his eyes till he shet 'em up, and +he fell asleep. He had a real good nap, and when he woke up he went out +to take a walk. + +And he begun to think o' what the posies and trees and creaturs had said +about dyin', and how they laughed at his bein' scaret at it, and he says +to himself, "Why, someways I don't feel so scaret to-day, but I s'pose I +be." And jest then what do you think he done? Why, he met a Angel. He'd +never seed one afore, but he knowed it right off. And the Angel says, +"Ain't you happy, little boy?" And Reuben says, "Well, I would be, only +I'm so dreadful scaret o' dyin'. It must be terr'ble cur'us," he says, +"to be dead." And the Angel says, "Why, you be dead." And he was. + + * * * * * + +The story of the boy that was scaret o' dyin' was the last story that +little Lib ever told us. We saw her sometimes after that, but she was +not strong enough to talk much. She sat no longer now in the low chair +under the maples, but lay on a chintz-covered couch in the sitting-room, +by the west windows. The once shrilly-sweet voice with its clear bird +tones was but a whisper now, as she told us over and again, while she +lay there, that she would tell us a new story "to-morrow." It was always +"to-morrow" till the end came. And the story was to be, so the whisper +went on, "the beautif'lest story,--oh, you never did!" And its name was +to be,--what a faint and feeble reproduction of the old triumphant +announcement of a new title!--"The Posy Gardin' that the King Kep'." + +She never told us that story. Before the autumn leaves had fallen, while +the maples in front of the farmhouse were still red and glorious in +their dying beauty, we laid our little friend to rest. Perhaps she will +tell us the tale some day. I am sure there will be "a Angel" in +it,--sure, too, that the story will have a new and tender meaning if we +hear it there, that story of the King and of the posy gardin' he kep'. + +----------------------------------------------------------------------- + +Transcriber's Notes + +1. Punctuation has been normalized to contemporary standards. +2. Unusual spelling in chapter titles retained. + + + + + + +End of Project Gutenberg's Story-Tell Lib, by Annie Trumbull Slosson + +*** END OF THIS PROJECT GUTENBERG EBOOK STORY-TELL LIB *** + +***** This file should be named 19989.txt or 19989.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/1/9/9/8/19989/ + +Produced by Roger Frank and the Online Distributed +Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. 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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +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: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + +*** END: FULL LICENSE *** + diff --git a/19989.zip b/19989.zip Binary files differnew file mode 100644 index 0000000..6db376f --- /dev/null +++ b/19989.zip diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..4bb046a --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #19989 (https://www.gutenberg.org/ebooks/19989) |
