initial commit of ebook 28137HEADmain

67 files changed, 4532 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/28137-8.txt b/28137-8.txt
new file mode 100644
index 0000000..efaae3d
--- /dev/null
+++ b/28137-8.txt
@@ -0,0 +1,1403 @@
+Project Gutenberg's The Nursery, September 1877, Vol. XXII, No. 3, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Nursery, September 1877, Vol. XXII, No. 3
+       A Monthly Magazine for Youngest Readers
+
+Author: Various
+
+Release Date: February 20, 2009 [EBook #28137]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, SEPTEMBER 1877 ***
+
+
+
+
+Produced by Emmy, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+by Linda Cantoni.
+
+
+
+
+
+
+
+
+THE
+
+NURSERY
+
+
+_A Monthly Magazine_
+
+
+FOR YOUNGEST READERS.
+
+
+VOLUME XXII.--No. 3.
+
+
+          BOSTON:
+          JOHN L. SHOREY, No. 36 BROMFIELD STREET,
+          1877.
+
+
+
+
+          Entered according to Act of Congress, in the year 1877, by
+          JOHN L. SHOREY,
+          In the Office of the Librarian of Congress at Washington.
+
+
+          FRANKLIN PRESS:
+          RAND, AVERY, AND COMPANY,
+          117 FRANKLIN STREET,
+          BOSTON.
+
+
+
+
+[Illustration: Contents.]
+
+
+IN PROSE.
+
+                                                PAGE
+  Introduced to the Atlantic Ocean                65
+  Roses and Insects                               68
+  Garry and the Rake                              71
+  A true Story of a Partridge                     74
+  A Letter from Minnesota                         76
+  The lazy Shepherd                               77
+  Seventh Lesson in Astronomy                     79
+  A Sight of the Ocean                            81
+  Philip's new Whip                               85
+  Grandma's Story                                 88
+  Aunt Matilda                                    91
+  Anna's Bird                                     92
+  The Story of the Squashes                       94
+  Charlie's Composition                           95
+
+
+IN VERSE.
+
+                                                PAGE
+  Top-Knot                                        70
+  Crossing the Brook with Harry                   72
+  How to draw a Pig                               80
+  Ruth's Wishes                                   83
+  The three little Ladies                         87
+  The Pedlar (_with music_)                       96
+
+[Illustration: VOL. XXII.--NO. 3.]
+
+
+
+
+INTRODUCED TO THE ATLANTIC OCEAN.
+
+
+"[Illustration: N]OW for it, girls! Let me introduce you to the Atlantic
+Ocean! Mr. Ocean, these are my three cousins from Kentucky: Miss Jenny,
+Miss Eva, and Miss Kate Logan. They never saw you till today. This lady
+on my left is my sister, Miss Dora Drake, the best swimmer at Brant Rock
+Beach; but her you know already, also my dog Andy."
+
+"Oh! I don't want to go any further. I'm afraid of the Atlantic Ocean,"
+cried little Kate Logan.
+
+"Nonsense!" said Master Tom Drake. "Look at Andy with the stick in his
+mouth. Why, if the Atlantic Ocean were to try to drown us, Andy would
+save us every one. Shall I tell you what he did last summer?"
+
+"We can't stop for stories now, Tom," said sister Dora. "We must attend
+to our bathing. Here comes a wave that will give us a good ducking."
+
+"Oh! oh, dear! It has taken my breath all away!" cried little Kate, as
+the wave lifted her off her feet and curled and gurgled round her neck.
+
+"It is only the Atlantic Ocean making a bow to you, my dear; clasping
+you lovingly round the neck, and whispering soft nonsense," said Tom,
+dropping the hands of Eva and Kate, and swimming off into deep water
+with Andy.
+
+Jenny and Eva did not know how to swim: so they jumped up and down in
+the water, while Dora took Kate on her back, and swam out after Tom. She
+soon overtook him and pushed his head under water; but Tom came up light
+as a cork, and splashed the water all over Dora.
+
+"That will do, Tom," said she; "now, Andy, come here, and take this
+little girl on your back and carry her up on the dry sand."
+
+Then Dora placed Kate on the good dog's back, and the little girl threw
+her arms round his neck, and he swam with her through the deep water,
+and carried her up high on the dry, warm sand, where a lady and
+gentleman were seated, and another lady stood with a sun-shade over her
+head.
+
+But when Kate saw Tom and the girls all frolicking in the water, she
+cried out, "Oh, give me more of the Atlantic Ocean. I like him."
+
+She ran down to the water's edge, and into the water all alone; but Andy
+stood by to help her in case of need, and when she fell down flat, and
+the ocean covered her head, he took her up by her bathing-dress, and
+bore her once more up on the dry sand.
+
+All laughed, and little Kate laughed louder than any of them. "The
+Atlantic Ocean didn't get me that time," she said.
+
+I cannot tell you of all their frolics; but you may be sure that the
+little party from Kentucky grew quite familiar with the Atlantic Ocean
+after this introduction. Every day they would leave their little cottage
+on the height, and walk along the white sand in their bathing-dresses
+till they found a good place for bathing. Tom and Andy always went with
+them to protect them from harm.
+
+When Jenny, Eva, and Kate get back to Kentucky, next September, what
+stories they will have to tell of the pleasant times they had at Brant
+Rock Beach! It lies not far from the town of Marshfield in
+Massachusetts. Perhaps you can find the name on your map.
+
+                                                      IDA FAY.
+
+[Illustration]
+
+[Illustration]
+
+
+
+
+ROSES AND INSECTS.
+
+
+WHAT sort of insects are a-phiŽdes? In plain English they are
+plant-lice. When about to pluck a rose-bud, have you not started
+sometimes to find it covered with little green insects? These are
+aphides.
+
+They suck the sap from the bud on the leaf; and every person who raises
+a rose-bush seeks to get rid of them. The little insect called the
+lady-bird destroys them in great numbers: so you must encourage
+lady-birds, if you want your roses to flourish.
+
+Most of us have heard of honey-dew, and know, probably, that it is a
+sweet, clammy substance, found on the leaves of various trees and
+plants, especially on the oak, the vine, the hop, and the honeysuckle.
+This honey-dew is extracted with the sap, secreted, and then thrown out
+in a pure state by the aphides.
+
+Besides the sweets which they scatter around them like sugar-plums, they
+always keep a good supply within the green jars of their bodies. By this
+lavish use of confectionery, they gain a few interested friends and some
+enemies like the lady-birds, that eat them up.
+
+Wherever the aphides abound, whether in hop-ground, bean-field, or
+rose-garden, there are lady-birds gathered together, and they are
+welcomed by the cultivator, if not by the aphis. (_Aphis_ is the
+singular noun, and _aphides_ its plural form.) But enough of aphis
+enemies, and now for the friends, which, as well as foes, they owe to
+the sweet milk--the honey-dew--which they give out. So these friends,
+you see, are fair-weather friends, interested friends; and among them
+are several varieties of the ant tribe.
+
+The ants do not hurt the aphides, but follow them for what they can get
+out of them. They are continually seen in company; and the ants
+sometimes drive off the lady-birds and other foes.
+
+The aphis, when attacked by its mortal foe the lady-bird, submits with a
+good grace. Never did Turk bend his neck to the bow-string, or rush upon
+the cimeter with greater courage, than the aphis submits itself to the
+murderous jaws of its devouring foes. It seems quite at ease, and enjoys
+life to the last bite or sup, while its companions are being killed, and
+their carcasses heaped up around it. It evidently thinks it is right to
+die quietly, like a great-minded little insect.
+
+                                                UNCLE CHARLES.
+
+[Illustration]
+
+
+
+
+TOP-KNOT.
+
+
+          PRETTY Biddy Top-knot has a hidden nest,
+          Out among the willows stretching toward the west:
+          Every day she runs there on her yellow legs,
+          To count and add another to her store of eggs.
+
+          Top-knot soon is missing from the garden walks:
+          No more with the other hens struts about and stalks!
+          No more is her cackle from the willows heard,
+          Where, but late, she noisily all the barn-yard stirred.
+
+          Down among the willows, stretching toward the west,
+          Top-knot's snowy turban shows above her nest:
+          Slanting ray of sunshine peeps in very bright;
+          Come and peep in with it, you shall see a sight.
+
+          Thirteen little chickens, downiest ever seen,
+          And joyous little Top-knot proud as any queen!
+          For that they are beauties all the hens agree:
+          Can you wonder Top-knot should so happy be?
+
+          Full of her importance, Top-knot doth appear,--
+          Thirteen little chickens she must feed and rear!
+          Soon more hens are missing!--are they lost or hid?
+          Think you they'll surprise us just as Top-knot did?
+
+                                                      FLETA F.
+
+[Illustration]
+
+
+
+
+GARRY AND THE RAKE.
+
+
+ONE summer afternoon, when the grassy slope before the house was untidy
+with fallen leaves, and sticks, and withered flowers, I asked Garry to
+go and bring the rake that we might clear away the rubbish.
+
+So off he ran, and soon came back with an _iron_ rake. Now, if you have
+ever tried one, you will know that an iron rake is not nearly as good
+for this purpose as a wooden rake, as it is heavy, and the teeth are so
+sharp that they tear the roots of the grass.
+
+I used it for a while; but, in spite of all I could do, the teeth would
+catch the roots. At last Garry exclaimed, "Grandma, let me take it. I
+can make it all right."
+
+I gave it to him, and the dear little boy took it behind a log, and was
+very busy and quiet for several minutes. Then I called, "Come, Garry, I
+don't believe you can help it."
+
+"Oh!" said he, "you just wait a little, and you will see." And, to be
+sure, in a very short time he brought me the rake, with a hard green
+apple on each outer tooth, pushed on just so far that the other teeth
+would catch the litter of leaves and sticks without disturbing the
+grass.
+
+Wasn't that a bright idea for a little boy five and a half years old?
+
+                                                            M.
+
+
+
+
+CROSSING THE BROOK WITH HARRY.
+
+
+            NOW, Harry, don't fear,
+            I will carry you, dear:
+          So keep very quiet and steady:
+            The brook is not wide,
+            Nor swift is the tide:
+          Now, for it, my pet--are you ready?
+            So over the stones we will go,
+            With step very careful and slow.
+
+            I never have slipped
+            As o'er them I tripped;
+          But then I had nothing to carry:
+            Now I must take heed,
+            The more haste, the worse speed;
+          For I bear in my arms little Harry:
+            So over the stones we will go,
+            With step very careful and slow.
+
+            Almost every bird
+            That ever I heard,
+          On the bank there seems now to be singing;
+          And I smell the sweet hay
+          From the field by the way;
+          The wind all its odor is bringing:
+          So over the stones we will go,
+          With step very careful and slow.
+
+[Illustration]
+
+                                                 EMILY CARTER.
+
+
+
+
+A TRUE STORY OF A PARTRIDGE.
+
+
+I WONDER if any of the children who read "The Nursery" have ever been in
+the woods of Maine. There grow the tall old pine-trees, with tops which
+seem to touch the sky, and thick interlacing branches, making a very
+dark shade overhead.
+
+[Illustration]
+
+There, too, grow the fragrant cedar-trees, with their bright green
+boughs, and trunks so hard and stout; and, loveliest of all, the
+graceful maple, whose green leaves turn crimson and gold when autumn
+comes.
+
+All these and many other trees grow in the great Maine forests; and
+birds build their nests and bring up their young among the branches; and
+under the trees, and all about, grow ferns, and mosses soft as velvet.
+
+Bright-eyed squirrels frisk about over the ground, and run nimbly up
+into the tree-tops; and pretty brown partridges walk daintily around,
+picking up seeds and berries to carry home to their baby-partridges,
+hidden away in soft nests on the ground.
+
+Through a forest like this, where it had always been so quiet and
+peaceful that the birds and squirrels did not know what it was to be
+afraid, a railroad-track was laid not long ago. Then the great engine
+went thundering on its way to a pleasant city by the sea, carrying with
+it a long train of cars, the smoke curling up brown and thick from the
+smoke-stack, and the shrill whistle waking the echoes among the distant
+hills.
+
+One day, when the train was going at full speed through the woods, a
+partridge, flying from one part of the forest to another, being
+frightened and bewildered by the noise, dashed against the smoke-stack,
+and fell at the engineer's feet. The engineer, whose name was Nathaniel
+Grant, took up the poor frightened bird, gently stroked its ruffled
+feathers, and carried it carefully to his home.
+
+There the partridge was treated with the greatest kindness, and soon got
+over its bruises. But it longed for the quiet woods, where its life had
+been spent. It could not eat, and seemed to be almost breaking its heart
+with home-sickness.
+
+So the next day, when Mr. Grant started off again on the engine, he took
+the bird with him. Watching very carefully for the place where the
+partridge had flown in, he found, at last, the exact spot. There he set
+the bird free, and away it flew, back to its peaceful home.
+
+                                                 DORA'S MAMMA.
+
+[Illustration]
+
+
+
+
+A LETTER FROM MINNESOTA.
+
+
+WHEN "The Nursery" came the other day to St. Paul, two little boys who
+live here, named Charley and John, found a story in it about a bear who
+used to walk in our streets. That story was true; and these little boys
+were so pleased with it, that they want me to write you about a new pet
+they have.
+
+[Illustration]
+
+It isn't a kitty with nice soft fur, nor a dog that will run and jump
+and play with them, nor a canary-bird to wake them up with his sweet
+songs; but it is a turtle, which the boys found trying to get across the
+street near their home.
+
+John, who is three years old, said, "I guess the poor little turtle is
+lost, and is trying to find his mamma again." So he picked him up, when
+away went his head, legs, and tail, all tucked under his shell. He
+looked like a box shut almost tight. When he was put in the water, out
+they came again.
+
+He spends the whole day trying to climb the sides of the smooth pan he
+is in, slipping back, and trying again. We put in a large shell to serve
+him for a house; and one day he climbed to the top of it, got out of his
+pan, and crawled over the carpet into the next room. So we had to take
+his house away.
+
+I think we shall have to name him Willie Winkie, because he opens and
+shuts his eyes so often and so quickly.
+
+Charley and John have the promise of a garden all to themselves when
+summer comes here. Perhaps by and by, we will tell the other children
+who read "The Nursery," how they get on with it, and what kinds of
+flowers they raise.
+
+                                                      C. R. S.
+  ST. PAUL, MINN.
+
+[Illustration]
+
+
+
+
+THE LAZY SHEPHERD.
+
+
+SOME years ago in Scotland, two boys, whose names were Henry Bright and
+John Yorner, were left orphans by the death of parents. Mr. Donald, a
+good man, who had nine or ten thousand sheep, and employed many
+shepherds, took both these boys into his employ.
+
+"Now, boys," said he, "a shepherd's life may be barren or fruitful, lazy
+or active, just as you choose to make it. In pleasant weather, while you
+are tending the sheep, if you have good dogs to help you, you can, if
+you choose, find leisure for reading and for study, and at the same
+time not neglect your proper duties.
+
+"If you want books, come to my house, and I will lend them to you. You
+have eight years to serve before you are twenty-one; and in that time
+you can fit yourselves for employments that will yield you much more
+than the work of a shepherd."
+
+Henry Bright first suited himself to a good dog, and taught him so well,
+that Plato--such was the dog's name--soon took almost the whole care of
+a hundred sheep that Henry had to look after. The lad would take a seat
+under the shelter of some rock, and read and study, while Plato would
+lie at his feet, or run round to see that no sheep or lamb was straying
+too far from the pasture-ground.
+
+But John Yorner was lazy, and did not care for books. He would not take
+the trouble even to teach a dog his duties. He would lie on a bank in
+the sun, with his hands clasped above his head, and there sleep away the
+long hours before dinner. Often his sheep would stray away and get lost;
+so that Mr. Donald once said to him, "I fear you are not fit even for a
+shepherd, John."
+
+You may easily guess what the result was at the end of eight years. John
+Yorner was a shepherd still: he had not been promoted to any better
+employment. He loved idleness too well. One must be diligent if he would
+be faithful and succeed.
+
+As for Henry, he applied himself to the study of arithmetic, and became
+so skilled in that branch of study, that, before he was nineteen, his
+services were wanted by a large mercantile house in Glasgow. There he
+made himself so useful, that his success became no longer a matter of
+doubt.
+
+Oh the days of youth, how precious they are! Do not be like the lazy
+shepherd, my little friends!
+
+                                                UNCLE CHARLES.
+
+
+
+
+SEVENTH LESSON IN ASTRONOMY.
+
+
+YOU all know that the sun comes to us in the morning, and goes away from
+us at night, and you say that it rises and sets. Does it rise and set in
+the same place?
+
+I know that is a foolish question to ask any child who lives with his
+eyes open. You all know, of course, that it rises opposite to where it
+went down the night before, and takes all day to cross the sky to its
+setting-place again. And you know it rises in the east, and sets in the
+west.
+
+But do you know that most of the stars, too, rise and set in this same
+way? Those of you who are old enough to be up when the stars are out can
+see for yourselves that this is so. You can see some stars rise, and
+some set, if there is nothing in your way, and you patiently watch; or
+you can pick out a particular star, and notice just where it is, and
+then, if you look for it later, you will see that it appears to have
+moved.
+
+All night long, and all day too, only we cannot see them in the
+sunlight, stars are rising, crossing the sky, and setting, the same
+stars coming up a little earlier each day. But there are some stars
+which neither rise nor set, and these I will tell you about some other
+time.
+
+Now, after all this that I have said about the rising and setting of the
+sun and stars, you will be surprised to learn that, so far as we can
+see, they never move at all. The planets--and our earth among them--move
+around the sun; but the sun stands still; and all the stars which are
+suns, shine always in the same place, and are hence called fixed stars.
+How, then, can they be said to rise and set?
+
+I will try to explain this in the next lesson. In the meantime you had
+better read again what I told you about the planets in the second
+lesson.
+
+                                                      M. E. R.
+
+
+
+
+HOW TO DRAW A PIG.
+
+
+[Illustration]
+
+          The Body of Piggy is shaped like a bean.
+          Except when he's poor and uncommonly lean.
+
+          Then give him an ear and a long handsome snout
+          For the last is so useful in rooting about.
+
+          Then a bright little eye he must have without fail
+          At the other end of him a small curly tail.
+
+          Then give him four feet and you have a whole pig
+          Who can run for his food be he little or big.
+
+[Illustration]
+
+
+
+
+A SIGHT OF THE OCEAN.
+
+
+"OH, what I would give for a sight of the ocean!" said Ruth Turner, as
+she sat one hot day in June in their little parlor, with her two sisters
+and their mother.
+
+"We must content ourselves in the city this summer," said Mrs. Turner.
+"What with the great fire, and the stagnation of trade, your father has
+lost so much money that we cannot afford to hire a cottage by the
+sea-side this year."
+
+"Well, we must try to make home pleasant," said little Anna, whose pale,
+pinched face showed that the pent air of the city had already begun to
+affect her health.
+
+"Let us all shut our eyes, and imagine ourselves on the beach," said
+Ellen, who was the poetess of the family.
+
+At that moment, the postman's knock at the door gave promise of a
+letter. Ruth ran to get it, and, returning in a moment, handed her
+mother a note, and said, "It is from that ugly, fat old Mr. Jenks, the
+grocer: his name is on the back. What can he want?"
+
+"Give me the letter, child," said Mrs. Turner; "and do not let me hear
+you speak of any fellow-being with contempt, because he is ugly, fat, or
+old. Mr. Jenks is all the time doing kind things. I am sorry to hear
+that his wife is ill."
+
+Mrs. Turner opened the letter, read it, and said, while her face
+flushed, "Hear this, Miss Ruth, you who were so quick to speak ill of
+Mr. Jenks:--
+
+"DEAR MRS. TURNER,--Wife and I have concluded to take the next steamer
+for England, not to be back till next October. You and your honest
+husband must at once go down with your family, and occupy my furnished
+cottage at Crescent Beach. Cellar and store-closet are well stocked with
+groceries. Use and consume every thing as if it were your own. Don't say
+_no_, but send me round word that you will do it. I don't like to leave
+the cottage empty."
+
+Ruth ran to a corner of the room, turned her face to the wall, and
+covered it with her hands.
+
+"Handsome is, that handsome does, Miss Ruth," cried little Anna.
+
+"Well, Ruth, shall we accept the invitation?" said her mother.
+
+"On one condition," said Ruth, turning round; "and that is, that you let
+me go and thank Mr. Jenks myself for his great kindness. He is not old;
+he is not ugly; and, if he is fat, so much the better."
+
+The good grocer's offer was gratefully accepted. The little girls now
+pass most of the summer days on the beach, where they pick up shells,
+and pretty white stones, or bathe in the salt ocean. Every morning
+brings fresh delights. Anna has rosy cheeks once more, and as for
+Ellen, she sits on the rocks, and sketches, or writes poetry, every day.
+
+Ruth has broken herself of the bad habit of speaking ill of persons
+because of their looks. She knows now that a man may be "old, fat, and
+ugly," and at the same time be full of love and kindness.
+
+                                                DORA BURNSIDE.
+
+[Illustration]
+
+
+
+
+RUTH'S WISHES.
+
+
+          "I'D like to be now
+          A bird on a bough,"
+          Said Ruth, one hot day
+          As she paused in her play:
+          "I'd like to be now
+          A bird on a bough.
+
+          "To be like a fish
+          In the sea is my wish,
+          Where the water is cool,
+          And they go to no school:
+          To be like a fish
+          In the sea is my wish.
+
+          "A squirrel I'd be
+          High up on a tree;
+          For he can go where
+          He gets plenty of air:
+          A squirrel I'd be
+          High up on a tree.
+
+          "A stag in a wood
+          I'd be, if I could:
+          He can lie on the ground
+          Where 'tis cool all around:
+          A stag in a wood
+          I'd be, if I could."
+
+          So wished, in her folly,
+          Ruth, holding her dolly;
+          The heat of the noon
+          Put her all out of tune:
+          So wished, in her folly,
+          Ruth, holding her dolly.
+
+                                                 EMILY CARTER.
+
+[Illustration]
+
+
+
+
+PHILIP'S NEW WHIP.
+
+
+NOW, what is all this noise about? The hens cackle and run about. The
+pig squeals. Over the fence flies the old gander, and after him flies
+the goose. Now, what can be the matter?
+
+I will tell you. It all comes from this: our little Philip has had a
+present of a new whip; and the first thing he does with it is to see how
+his friends in the barn-yard like it.
+
+He does not like to try it on the horse or on the cow; for the horse can
+kick, and the cow can hook with her horns. So, like a little coward, he
+frightens the hens, and the poor geese, and the pig, shut up in his pen.
+
+I do not think it right. We ought to protect the weak, and not try to
+scare or hurt them.
+
+                                                      A. B. C.
+
+[Illustration]
+
+
+
+
+THE THREE LITTLE LADIES.
+
+
+          NOW, who can find out
+          What these three little ones are about?
+          Very busy, you see,
+          They all seem to be;
+          But what they are doing,
+          What work or what pleasure pursuing,
+          Is more than my wisdom can tell:
+          And are not you puzzled as well?
+
+          One little lady is standing
+          On a cricket in posture commanding;
+          Another is pulling out pieces
+          From a drawer as fast as she pleases;
+          Another is bearing a roll--
+          But what for? It is all very droll.
+          And pray what is pussy about?
+          She joins in the frolic, no doubt.
+
+          These three little ladies, my dear,
+          Know what they're about: that is clear.
+          'Tis something important, you see,
+          Though a puzzle to you and to me;
+          For they each look as grave as a judge:
+          So, old folks, don't laugh, and cry, "Fudge!"
+          It may be that your own great affairs
+          Are not any more useful than theirs.
+
+                                                ALFRED SELWYN.
+
+
+
+
+GRANDMA'S STORY.
+
+
+I AM only five years old; but I have a great deal of trouble. Papa pulls
+my ears, and calls me a sad rogue; brother Tom asks me every night what
+new mischief I have been up to today; and poor mamma sighs, and says I
+am the most troublesome child she ever saw.
+
+But dear good grandma looks up from her knitting, and smiles as she
+says, "Tut, tut, daughter! Our Amy isn't any worse than a little girl I
+knew some thirty years ago."
+
+"O grandma!" cried I one day, "do please tell me about her; for I like
+to hear about naughty little girls. What was her name, grandma?"
+
+Grandma looked over her spectacles at mamma and smiled, and mamma nodded
+and smiled back. Then grandma said, "I think I will tell you of one of
+little Clara's capers; but mind, you are not to go and do the same thing
+the first chance you get."
+
+This is the story as grandmother told it,--
+
+          "Little Clara lived on a farm away out in the
+          country. She was the youngest of seven children,
+          and a great pet, of course. But Clara's little
+          restless feet and mischievous fingers often
+          brought her into trouble and disgrace.
+
+          "One day Clara's mother had occasion to go to the
+          store, which was three miles away. Clara wanted to
+          go too. Her mother feared she would be in the way,
+          and looked doubtful; but big brother Ben said,
+          'Let her go, mother. She'll be good, I know.'
+
+          "'Yes; let her go,' said Susan, who was trying to
+          net a bead purse, and keep Clara's fingers out of
+          her box of beads at the same time.
+
+[Illustration]
+
+"'Do let her go!' said Roger. 'I want to rig my ship this afternoon; and
+a fellow can't do much with her around.'
+
+          "So it was decided that Clara should go; and it
+          was the work of but a few moments to polish up the
+          chubby face and hands, and brush the curly hair.
+          The pink dress, red shoes, and white sun-bonnet,
+          were put on as quickly as possible, and Clara was
+          ready.
+
+          "'Now, do try to behave yourself, child,' said
+          Susan, as Ben lifted the little girl into the
+          wagon.
+
+          "'Of course I will,' replied Clara, pouting her
+          red lips.
+
+          "'But did she behave herself?' you ask. Ah! I will
+          tell you.
+
+          "When they reached the store, Mr. Dale, the
+          storekeeper, came out to assist them; and, as he
+          helped Clara out of the wagon, he called her 'a
+          little lady,' which made her feel all of two
+          inches taller than usual. Then he gave her a stick
+          of candy, and lifted her to a seat on the counter,
+          close beside a dear old pussy-cat, who purred
+          loudly as the little girl smoothed her fur.
+
+          "Clara's mother had a good many things to buy, and
+          very soon forgot all about her little daughter;
+          but when Ben came in, half an hour later, his
+          first question was, 'Where's Clara, mother?'
+
+          "Sure enough, where was Clara? Her seat was empty.
+          She had disappeared. 'Clara, Clara!' called both
+          her mother and Ben; but there was no answer.
+
+          "'She's in some mischief,' said Ben; and, as quick
+          as thought, he rushed into the back part of the
+          store, followed by his mother and Mr. Dale. What a
+          sight met their eyes! There stood Clara, in the
+          centre of the room, stepping back slowly, as a
+          pool of molasses, streaming steadily from a
+          hogshead in the corner, crept towards the toes of
+          her little red shoes. Ben caught up Clara as quick
+          as a flash, and----"
+
+"No, grandma," interrupted mamma, "it was Mr. Dale who did that, while
+Ben made haste to turn the faucet to prevent further mischief."
+
+"Why, mamma," said I, "how do you know? Were you there?"
+
+"I heard about it," said she; and she and grandma both smiled. "The
+little girl was just my age, and I knew her very well."
+
+"And your names were both Clara," said I. "How queer!"
+
+And mamma and grandma must have thought it queer, too; for they both
+laughed heartily.
+
+                                                      F. A. B.
+
+[Illustration]
+
+[Illustration]
+
+
+
+
+AUNT MATILDA.
+
+
+WHAT should we do in our house if it were not for our Aunt Matilda? She
+is the first one out of bed in the morning, and the last one to go to
+bed at night. She sees that things are right in the kitchen, and right
+in the parlor.
+
+Father wants his breakfast by half-past six o'clock this summer weather.
+Aunt Matilda rises before five, and calls the girls, and sees that the
+rooms are in order. Then she calls the children to be washed and
+dressed.
+
+Yes, that is a good likeness of her, as you see her combing my hair. She
+is not young, you perceive, nor yet very old. Sometimes I get a little
+impatient, and fidget, because she is so particular; but our quarrels
+always end in my kissing her, and saying, "You are a darling Aunty,
+after all."
+
+Mother is an invalid: so she cannot do much house-work, or see to the
+children. But Aunt Matilda is mother, aunt, and house-maid, all in one.
+Sometimes she even acts as stable-boy, and harnesses the horse to the
+carryall; for there are few things that Aunty does not know how to do,
+and to do well.
+
+Do we go to school? Yes, and no. Our only school is one that Aunt
+Matilda keeps for us in the library. She teaches us to read, to write,
+and to draw. She can play on the piano, and has begun to teach me music.
+Oh! What _should_ we all do without Aunt Matilda?
+
+                                                    MISS MAUD.
+
+
+
+
+ANNA'S BIRD.
+
+
+ANNA has a little bird, and she calls it Tot. You must try to find out
+from the picture what sort of a bird it is. It can sing and play; and it
+is so tame, that it will put its bill between Anna's lips when she says,
+"Kiss me, Tot."
+
+Her dog Fancy is quite fond of the bird, and will let it light on his
+head; and Anna is trying to make Muff, the cat, give up her habit of
+killing birds. But I hope that Anna will be careful, and not trust Muff
+too far.
+
+I have heard of a cat in a bird-shop, that was trained to take care of
+birds, instead of harming them; but this is a rare case. It is hard to
+keep a cat from catching birds, and from troubling the little young ones
+in their nests.
+
+Anna is so fond of Tot, that she will not let a cat come into the room
+where he is. Tot can whistle a tune. He likes to light on Anna's head,
+and will sometimes almost hide himself under her thick hair. She feeds
+him, and gives him a bath every day, and lets him fly about the room.
+
+[Illustration]
+
+If Tot were to fly out of the window, I think he would try to get back
+to his own little cage, so fond is he of Anna.
+
+                                                  ANNA'S AUNT.
+
+
+
+
+THE STORY OF THE SQUASHES.
+
+
+I KNOW of two little boys, twin-brothers, who are just five years old.
+They are so nearly alike that their best friends can scarcely tell them
+apart. Sturdy little men they are; so strong and fair and stout, that I
+should be glad to kiss them even when they have come from the dirtiest
+depths of their mud-pies. I fancy their mother sighs often over their
+torn pantaloons, their battered hats, and their soiled boots; but for
+all that, they _must_ play, and things will wear out.
+
+One day in the fall, their papa sent up to the house a farmer's wagon
+full of great beautiful squashes, to be put into the cellar for the
+winter's use. The farmer put the squashes on the ground close by the
+cellar-door ready for storage. But, when their papa came home, the
+squashes had disappeared, and he inquired who had put them into the
+cellar, and went down to see if they had been properly stored.
+
+But there were no squashes there. And he inquired again where they were;
+but no one knew. He called to the boys, who were playing horse on the
+sidewalk, to ask if they knew any thing of the squashes. Oh, yes! and
+they ran to the barn, he following; and where do you suppose the
+squashes were? In the pig-pen--every one of them!
+
+They had toiled and tugged, and carried every squash--and many of them
+were large--out there, and fed them to the pigs.
+
+The mischief done, who could scold those two bright, hard-working little
+men? I think their papa had to console himself with thinking if only
+they would work as well at something useful when they were grown up, he
+could forgive their rather wasteful business when they were little.
+
+                                                      C. D. B.
+
+
+
+
+CHARLIE'S COMPOSITION.
+
+
+CHARLIE was ten years old, and his teacher thought he should begin to
+write compositions. So she gave him a list of words, and told him to
+write a letter or story, and put them all in.
+
+The words were these: Begun, Write, Boy, Hook, Two, Black, Said, Basket,
+Knife, Chair, Eyes, Ground.
+
+Charlie went home; and, before he went out to play in the afternoon, his
+mother said, "You had better work a while on your composition."
+
+"Oh, I never can do it!" he said. "Mother, you try too, and see if you
+can write one." So she took his list and wrote this true story,--
+
+          "A little _boy_ with roguish _black eyes_ was
+          sitting on the floor, playing with some spools
+          that he had taken from his mother's work-_basket_,
+          which she had left in a _chair_. All at once he
+          saw a cow coming up the yard. He dropped every
+          thing, and ran to drive her out. She threw up her
+          head, and looked so fierce, that he was afraid she
+          would _hook_ him, and back he ran to the house.
+
+          "Then he spied a fruit-_knife_ on the _ground_,
+          where he had left it when he was eating an apple
+          in the morning. He picked it up, and carried it to
+          his mother, who had just _begun_ to _write_, and
+          she _said_, that, if he would keep still about
+          _two_ minutes, she would attend to him."
+
+"There," said mamma, "I have put in all the words: now you try,
+Charlie."
+
+Charlie then wrote:--
+
+          "I saw _two hooks_ and _eyes_ just as I had begun
+          to _write_. Johnny brought mother's _knife_, which
+          he found lying on the _ground_. He joggled
+          mother's _chair_, and she _said_, 'There's a
+          _black_ mark on my paper, and oh, dear! the _boy_
+          has tipped over my _basket_.' That's all."
+
+His mother read what Charlie had written, and said, "Pretty good for the
+first time;" and off he went to play.
+
+                                                      L. J. D.
+
+[Illustration: THE PEDLAR.]
+
+
+
+
+
+THE PEDLAR.
+
+                                               Music by T. CRAMPTON,
+                                                Chiswick, W. London.
+
+[Illustration: Music]
+
+          1. I wish I liv'd in a caravan
+          With a horse to drive like a pedlar-man,
+          Wherever he comes from nobody knows,
+          But merrily thro' the town he goes.
+
+          2. His caravan it is painted blue,
+          With a chimney small where the smoke comes thro';
+          And there is his wife with baby so brown,
+          And onward they go from town to town.
+
+          3. "Old chairs to mend, and new jugs to sell,"
+          How he makes the basins ring like a bell!
+          With baskets and tea-trays glossy and trim,
+          And plates with my name around the brim.
+
+          4. A pedlar-man I should like to roam,
+          And a book I'd write when I came back home;
+          And all the good folks would study my book,
+          And famous I'd be like Captain Cook.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes:
+
+The July edition of the Nursery had a table of contents for the next six
+issues of the year. This table was divided to cover each specific issue.
+A title page copied from this same July edition was also used for this
+number and the issue number added after the Volume number.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Nursery, September 1877, Vol. XXII, 
+No. 3, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, SEPTEMBER 1877 ***
+
+***** This file should be named 28137-8.txt or 28137-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/8/1/3/28137/
+
+Produced by Emmy, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+by Linda Cantoni.
+
+
+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, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation 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.
diff --git a/28137-8.zip b/28137-8.zip
new file mode 100644
index 0000000..f7dae69
--- /dev/null
+++ b/28137-8.zip
diff --git a/28137-h.zip b/28137-h.zip
new file mode 100644
index 0000000..e40b233
--- /dev/null
+++ b/28137-h.zip
diff --git a/28137-h/28137-h.htm b/28137-h/28137-h.htm
new file mode 100644
index 0000000..6bae741
--- /dev/null
+++ b/28137-h/28137-h.htm
@@ -0,0 +1,1710 @@
+<!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" xml:lang="en" lang="en">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <meta http-equiv="Content-Style-Type" content="text/css" />
+    <title>
+      The Project Gutenberg eBook of The Nursery, September 1877, Vol. XXII., by Various.
+    </title>
+    <style type="text/css">
+
+    p {margin-top: .75em;
+       text-align: justify;
+       text-indent: 1.25em;
+       margin-bottom: .75em;
+        }
+    img {border: 0;}
+    .tnote      {border: dashed 1px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em;
+                  padding-left: .5em; padding-right: .5em;}
+    ins {text-decoration:none;  border-bottom: thin dotted gray;}
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+   table.rose {width: 600px; text-align: center; background-image:
+     url("images/illus068.png"); background-repeat: no-repeat;}
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+     .copyright {text-align: center; font-size: 70%;}
+    .blockquot{margin-left: 5%; margin-right: 10%; text-align: justify;}
+    .blockquot2{margin-left: 20%;  text-align: justify;}
+
+    .bbox     {border: solid 2px; margin-left: 10%; margin-right: 10%; padding-bottom: .5em; padding-top: .5em;
+                  padding-left: .5em; padding-right: .5em;}
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+
+    .caption  {font-weight: bold; font-size: 70%;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: 0; margin-top:
+                 1em; margin-right: 0; padding: 0; text-align: center;}
+
+    .figright    {float: right; clear: right; margin-left: 1em; margin-bottom: 1em;
+                 margin-top: 1em; margin-right: 0; padding: 0; text-align: center;}
+
+    .unindent {margin-top: .75em;
+       text-align: justify;
+       margin-bottom: .75em;
+        }
+    .right    {text-align: right;}
+    .poem      {margin-left: 30%; margin-right: 10%; text-align: left;}
+    .poem2   {margin-left: 15%; margin-right: 10%; text-align: left;}
+    .sig    {margin-right: 10%; text-align: right;}
+    .story {font-size: 200%; margin-top: .75em;
+       text-align: justify;
+       text-indent: 1.25em;
+       margin-bottom: .75em;}
+
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+Project Gutenberg's The Nursery, September 1877, Vol. Vol. XXII, No. 3, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Nursery, September 1877, Vol. XXII, No. 3
+       A Monthly Magazine for Youngest Readers
+
+Author: Various
+
+Release Date: February 20, 2009 [EBook #28137]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, SEPTEMBER 1877 ***
+
+
+
+
+Produced by Emmy, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+by Linda Cantoni.
+
+
+
+
+
+
+</pre>
+
+
+<h3>THE</h3>
+
+<h1>NURSERY</h1>
+
+<h2><i>A Monthly Magazine</i></h2>
+
+<h2><span class="smcap">For Youngest Readers.</span></h2>
+
+<div class='center'>VOLUME XXII.&mdash;No. 3.<br />
+
+<br /><br />
+BOSTON:<br />
+JOHN L. SHOREY, No. 36 BROMFIELD STREET,<br />
+1877.<br />
+</div>
+
+<div class='copyright'><br /><br /><br />
+Entered according to Act of Congress, in the year 1877, by<br />
+JOHN L. SHOREY,<br />
+In the Office of the Librarian of Congress at Washington.<br />
+<br /><br /><br />
+FRANKLIN PRESS:<br />
+RAND, AVERY, AND COMPANY,<br />
+117 FRANKLIN STREET,<br />
+BOSTON.<br /></div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/contents.png" width="400" height="210" alt="Contents" title="" />
+</div>
+
+<h3>IN PROSE.</h3>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="0" cellspacing="0" summary="Contents in Prose">
+<tr><td align='left'>&nbsp;</td><td align='right'><small>PAGE</small></td></tr>
+<tr><td align='left'>Introduced to the Atlantic Ocean&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td><td align='right'><a href="#Page_65">65</a></td></tr>
+<tr><td align='left'>Roses and Insects</td><td align='right'><a href="#Page_68">68</a></td></tr>
+<tr><td align='left'>Garry and the Rake</td><td align='right'><a href="#Page_71">71</a></td></tr>
+<tr><td align='left'>A true Story of a Partridge</td><td align='right'><a href="#Page_74">74</a></td></tr>
+<tr><td align='left'>A Letter from Minnesota</td><td align='right'><a href="#Page_76">76</a></td></tr>
+<tr><td align='left'>The lazy Shepherd</td><td align='right'><a href="#Page_77">77</a></td></tr>
+<tr><td align='left'>Seventh Lesson in Astronomy</td><td align='right'><a href="#Page_79">79</a></td></tr>
+<tr><td align='left'>A Sight of the Ocean</td><td align='right'><a href="#Page_81">81</a></td></tr>
+<tr><td align='left'>Philip's new Whip</td><td align='right'><a href="#Page_85">85</a></td></tr>
+<tr><td align='left'>Grandma's Story</td><td align='right'><a href="#Page_88">88</a></td></tr>
+<tr><td align='left'>Aunt Matilda</td><td align='right'><a href="#Page_91">91</a></td></tr>
+<tr><td align='left'>Anna's Bird</td><td align='right'><a href="#Page_92">92</a></td></tr>
+<tr><td align='left'>The Story of the Squashes</td><td align='right'><a href="#Page_94">94</a></td></tr>
+<tr><td align='left'>Charlie's Composition</td><td align='right'><a href="#Page_95">95</a></td></tr>
+</table></div>
+
+
+<h3><br />IN VERSE.</h3>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="0" cellspacing="0" summary="Contents in Verse">
+<tr><td align='left'>&nbsp;</td><td align='right'><small>PAGE</small></td></tr>
+<tr><td align='left'>Top-Knot</td><td align='right'><a href="#Page_70">70</a></td></tr>
+<tr><td align='left'>Crossing the Brook with Harry</td><td align='right'><a href="#Page_72">72</a></td></tr>
+<tr><td align='left'>How to draw a Pig</td><td align='right'><a href="#Page_80">80</a></td></tr>
+<tr><td align='left'>Ruth's Wishes</td><td align='right'><a href="#Page_83">83</a></td></tr>
+<tr><td align='left'>The three little Ladies</td><td align='right'><a href="#Page_87">87</a></td></tr>
+<tr><td align='left'>The Pedlar (<i>with music</i>)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td><td align='right'><a href="#Page_96">96</a></td></tr>
+</table></div>
+<div class="figcenter" style="width: 200px;">
+<img src="images/contents_end.png" width="200" height="139" alt="Birds" title="" />
+</div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus065.png" width="500" height="352" alt="VOL. XXII.&mdash;NO. 3." title="" />
+</div>
+
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div><p><span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span></p>
+<h2>INTRODUCED TO THE ATLANTIC OCEAN.</h2>
+
+
+<div class="figleft" style="width: 117px;">
+<img src="images/illus066.png" width="117" height="125" alt="N" title="" />
+</div><div class='unindent'><br /><br />OW for it, girls! Let me introduce you to the
+Atlantic Ocean! Mr. Ocean, these are my
+three cousins from Kentucky: Miss Jenny,
+Miss Eva, and Miss Kate Logan. They never
+saw you till today. This lady on my left is
+my sister, Miss Dora Drake, the best swimmer at Brant Rock
+Beach; but her you know already, also my dog Andy."</div>
+
+<p>"Oh! I don't want to go any further. I'm afraid of
+the Atlantic Ocean," cried little Kate Logan.</p>
+
+<p>"Nonsense!" said Master Tom Drake. "Look at Andy
+with the stick in his mouth. Why, if the Atlantic Ocean
+were to try to drown us, Andy would save us every one.
+Shall I tell you what he did last summer?"</p>
+
+<p>"We can't stop for stories now, Tom," said sister Dora.
+"We must attend to our bathing. Here comes a wave that
+will give us a good ducking."</p>
+
+<p>"Oh! oh, dear! It has taken my breath all away!"
+cried little Kate, as the wave lifted her off her feet and
+curled and gurgled round her neck.</p>
+
+<p>"It is only the Atlantic Ocean making a bow to you, my
+dear; clasping you lovingly round the neck, and whispering
+soft nonsense," said Tom, dropping the hands of Eva
+and Kate, and swimming off into deep water with Andy.</p>
+
+<p>Jenny and Eva did not know how to swim: so they
+jumped up and down in the water, while Dora took Kate
+on her back, and swam out after Tom. She soon overtook
+him and pushed his head under water; but Tom came up
+light as a cork, and splashed the water all over Dora.</p>
+
+<p>"That will do, Tom," said she; "now, Andy, come here,
+and take this little girl on your back and carry her up on
+the dry sand."<span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p>
+
+<p>Then Dora placed Kate on the good dog's back, and the
+little girl threw her arms round his neck, and he swam with
+her through the deep water, and carried her up high on the
+dry, warm sand, where a lady and gentleman were seated,
+and another lady stood with a sun-shade over her head.</p>
+
+<p>But when Kate saw Tom and the girls all frolicking in
+the water, she cried out, "Oh, give me more of the Atlantic
+Ocean. I like him."</p>
+
+<p>She ran down to the water's edge, and into the water all
+alone; but Andy stood by to help her in case of need, and
+when she fell down flat, and the ocean covered her head, he
+took her up by her bathing-dress, and bore her once more
+up on the dry sand.</p>
+
+<p>All laughed, and little Kate laughed louder than any of
+them. "The Atlantic Ocean didn't get me that time," she
+said.</p>
+
+<p>I cannot tell you of all their frolics; but you may be sure
+that the little party from Kentucky grew quite familiar with
+the Atlantic Ocean after this introduction. Every day they
+would leave their little cottage on the height, and walk
+along the white sand in their bathing-dresses till they found
+a good place for bathing. Tom and Andy always went with
+them to protect them from harm.</p>
+
+<p>When Jenny, Eva, and Kate get back to Kentucky, next
+September, what stories they will have to tell of the pleasant
+times they had at Brant Rock Beach! It lies not far from
+the town of Marshfield in Massachusetts. Perhaps you can
+find the name on your map.</p>
+
+<div class='sig'>
+<span class="smcap">Ida Fay.</span><br />
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/illus067.png" width="300" height="114" alt="Sailing" title="" />
+</div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span></p>
+
+<div class='center'> <table class="rose" summary="Roses and Insects">
+<tr><td align='left'><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />
+
+
+
+
+
+
+<div class='blockquot2'>
+<p><span class="smcap">What</span> sort of insects are a-phi&acute;des?
+In plain English they are plant-lice.
+When about to pluck a rose-bud, have
+you not started sometimes to find it covered with
+little green insects? These are aphides.</p>
+
+<p>They suck the sap from the bud on the leaf;
+and every person who raises a rose-bush seeks to
+get rid of them. The little insect called the lady-bird
+destroys them in great numbers: so you
+must encourage lady-birds, if you want your roses
+to flourish.</p>
+
+<p>Most of us have heard of honey-dew, and know,
+probably, that it is a sweet, clammy substance,
+found on the leaves of various trees and plants,
+especially on the oak, the vine, the hop, and the
+honeysuckle. This honey-dew is extracted with
+the sap, secreted, and then thrown out in a pure state by
+the aphides.<span class='pagenum'><a name="Page_69" id="Page_69">[69]</a></span></p>
+
+<p>Besides the sweets which they scatter around them like
+sugar-plums, they always keep a good supply within the
+green jars of their bodies. By this lavish use of confectionery,
+they gain a few interested friends and some enemies
+like the lady-birds, that eat them up.</p>
+</div></td>
+</tr></table></div>
+
+<p>Wherever the aphides abound, whether in hop-ground,
+bean-field, or rose-garden, there are lady-birds gathered
+together, and they are welcomed by the cultivator, if not
+by the aphis. (<i>Aphis</i> is the singular noun, and <i>aphides</i> its
+plural form.) But enough of aphis enemies, and now for
+the friends, which, as well as foes, they owe to the sweet
+milk&mdash;the honey-dew&mdash;which they give out. So these
+friends, you see, are fair-weather friends, interested friends;
+and among them are several varieties of the ant tribe.</p>
+<p>The ants do not hurt the aphides, but follow them for
+what they can get out of them. They are continually seen
+in company; and the ants sometimes drive off the lady-birds
+and other foes.</p>
+
+<p>The aphis, when attacked by its mortal foe the lady-bird,
+submits with a good grace. Never did Turk bend
+his neck to the bow-string, or rush upon the cimeter
+with greater courage, than the aphis submits itself to the
+murderous jaws of its devouring foes. It seems quite at
+ease, and enjoys life to the last bite or sup, while its companions
+are being killed, and their carcasses heaped up
+around it. It evidently thinks it is right to die quietly, like
+a great-minded little insect.</p>
+
+<div class='sig'>
+<span class="smcap">Uncle Charles.</span><br />
+</div>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/illus069.png" width="300" height="154" alt="Aphids" title="" />
+</div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_70" id="Page_70">[70]</a></span></p>
+
+
+
+
+<h2>TOP-KNOT.</h2>
+
+
+<div class='poem'>
+<span class="smcap">Pretty</span> Biddy Top-knot has a hidden nest,<br />
+Out among the willows stretching toward the west:<br />
+Every day she runs there on her yellow legs,<br />
+To count and add another to her store of eggs.<br />
+<br />
+Top-knot soon is missing from the garden walks:<br />
+No more with the other hens struts about and stalks!<br />
+No more is her cackle from the willows heard,<br />
+Where, but late, she noisily all the barn-yard stirred.<br />
+<br />
+Down among the willows, stretching toward the west,<br />
+Top-knot's snowy turban shows above her nest:<br />
+Slanting ray of sunshine peeps in very bright;<br />
+Come and peep in with it, you shall see a sight.<br />
+<br />
+Thirteen little chickens, downiest ever seen,<br />
+And joyous little Top-knot proud as any queen!<br />
+For that they are beauties all the hens agree:<br />
+Can you wonder Top-knot should so happy be?<br />
+<br />
+Full of her importance, Top-knot doth appear,&mdash;<br />
+Thirteen little chickens she must feed and rear!<br />
+Soon more hens are missing!&mdash;are they lost or hid?<br />
+Think you they'll surprise us just as Top-knot did?<br />
+</div>
+
+<div class='sig'>
+<span class="smcap">Fleta F.</span><br />
+</div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus071.png" width="500" height="370" alt="GARRY AND THE RAKE" title="" />
+</div>
+
+
+
+
+<h2>GARRY AND THE RAKE.</h2>
+
+
+<p><span class="smcap">One</span> summer afternoon, when the grassy slope before the
+house was untidy with fallen leaves, and sticks, and withered
+flowers, I asked Garry to go and bring the rake that we
+might clear away the rubbish.</p>
+
+<p>So off he ran, and soon came back with an <i>iron</i> rake.
+Now, if you have ever tried one, you will know that an iron
+rake is not nearly as good for this purpose as a wooden
+rake, as it is heavy, and the teeth are so sharp that they
+tear the roots of the grass.</p>
+
+<p>I used it for a while; but, in spite of all I could do, the
+teeth would catch the roots. At last Garry exclaimed,
+"Grandma, let me take it. I can make it all right."</p>
+
+<p>I gave it to him, and the dear little boy took it behind a
+log, and was very busy and quiet for several minutes. Then
+I called, "Come, Garry, I don't believe you can help it."<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></p>
+
+<p>"Oh!" said he, "you just wait a little, and you will see."
+And, to be sure, in a very short time he brought me the
+rake, with a hard green apple on each outer tooth, pushed
+on just so far that the other teeth would catch the litter of
+leaves and sticks without disturbing the grass.</p>
+
+<p>Wasn't that a bright idea for a little boy five and a half
+years old?</p>
+
+<div class='sig'>
+M.<br />
+</div>
+
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<h2>CROSSING THE BROOK WITH HARRY.</h2>
+
+
+<div class='poem'>
+<span style="margin-left: 1em;"><span class="smcap">Now</span>, Harry, don't fear,</span><br />
+<span style="margin-left: 1em;">I will carry you, dear:</span><br />
+So keep very quiet and steady:<br />
+<span style="margin-left: 1em;">The brook is not wide,</span><br />
+<span style="margin-left: 1em;">Nor swift is the tide:</span><br />
+Now, for it, my pet&mdash;are you ready?<br />
+<span style="margin-left: 1em;">So over the stones we will go,</span><br />
+<span style="margin-left: 1em;">With step very careful and slow.</span><br />
+<br />
+<span style="margin-left: 1em;">I never have slipped</span><br />
+<span style="margin-left: 1em;">As o'er them I tripped;</span><br />
+But then I had nothing to carry:<br />
+<span style="margin-left: 1em;">Now I must take heed,</span><br />
+<span style="margin-left: 1em;">The more haste, the worse speed;</span><br />
+For I bear in my arms little Harry:<br />
+<span style="margin-left: 1em;">So over the stones we will go,</span><br />
+<span style="margin-left: 1em;">With step very careful and slow.</span><br />
+</div>
+
+<div class="figcenter" style="width: 321px;">
+<img src="images/illus073.png" width="321" height="425" alt="Carrying Harry" title="" />
+</div>
+<div class='poem'>
+<span style="margin-left: 1em;">Almost every bird</span><br />
+<span style="margin-left: 1em;">That ever I heard,</span><br />
+<span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span>On the bank there seems now to be singing;<br />
+And I smell the sweet hay<br />
+From the field by the way;<br />
+The wind all its odor is bringing:<br />
+So over the stones we will go,<br />
+With step very careful and slow.<br />
+</div>
+
+
+
+<div class='sig'>
+<span class="smcap">Emily Carter.</span><br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span></p>
+
+
+
+
+<h2>A TRUE STORY OF A PARTRIDGE.</h2>
+
+<div class="figleft" style="width: 230px;">
+<img src="images/illus074.png" width="230" height="300" alt="Partridge" title="" />
+</div>
+
+<p><span class="smcap">I wonder</span> if any of the
+children who read "The
+Nursery" have ever been
+in the woods of Maine.
+There grow the tall old
+pine-trees, with tops which
+seem to touch the sky, and
+thick interlacing branches,
+making a very dark shade
+overhead.</p>
+
+
+<p>There, too, grow the
+fragrant cedar-trees, with
+their bright green boughs,
+and trunks so hard and
+stout; and, loveliest of
+all, the graceful maple,
+whose green leaves turn crimson and gold when autumn
+comes.</p>
+
+<p>All these and many other trees grow in the great Maine
+forests; and birds build their nests and bring up their young
+among the branches; and under the trees, and all about,
+grow ferns, and mosses soft as velvet.</p>
+
+<p>Bright-eyed squirrels frisk about over the ground, and
+run nimbly up into the tree-tops; and pretty brown partridges
+walk daintily around, picking up seeds and berries
+to carry home to their baby-partridges, hidden away in soft
+nests on the ground.</p>
+
+<p>Through a forest like this, where it had always been so
+quiet and peaceful that the birds and squirrels did not know
+what it was to be afraid, a railroad-track was laid not long
+ago. Then the great engine went thundering on its way to<span class='pagenum'><a name="Page_75" id="Page_75">[75]</a></span>
+a pleasant city by the sea, carrying with it a long train
+of cars, the smoke curling up brown and thick from the
+smoke-stack, and the shrill whistle waking the echoes among
+the distant hills.</p>
+
+<p>One day, when the train was going at full speed through
+the woods, a partridge, flying from one part of the forest to
+another, being frightened and bewildered by the noise,
+dashed against the smoke-stack, and fell at the engineer's
+feet. The engineer, whose name was Nathaniel Grant,
+took up the poor frightened bird, gently stroked its ruffled
+feathers, and carried it carefully to his home.</p>
+
+<p>There the partridge was treated with the greatest kindness,
+and soon got over its bruises. But it longed for the
+quiet woods, where its life had been spent. It could not
+eat, and seemed to be almost breaking its heart with home-sickness.</p>
+
+<p>So the next day, when Mr. Grant started off again on the
+engine, he took the bird with him. Watching very carefully
+for the place where the partridge had flown in, he
+found, at last, the exact spot. There he set the bird free,
+and away it flew, back to its peaceful home.</p>
+
+<div class='sig'>
+<span class="smcap">Dora's Mamma.</span><br />
+</div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<div class="figcenter" style="width: 300px;">
+<img src="images/illus075.png" width="300" height="209" alt="Dragonfly" title="" />
+</div>
+
+
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div><p><span class='pagenum'><a name="Page_76" id="Page_76">[76]</a></span></p>
+
+<h2>A LETTER FROM MINNESOTA.</h2>
+
+<div class="figleft" style="width: 200px;">
+<img src="images/illus076.png" width="200" height="122" alt="Turtle" title="" />
+</div>
+
+<p><span class="smcap">When</span> "The Nursery" came the
+other day to St. Paul, two little boys
+who live here, named Charley and
+John, found a story in it about a
+bear who used to walk in our streets.
+That story was true; and these little boys were so pleased
+with it, that they want me to write you about a new pet
+they have.</p>
+
+
+<p>It isn't a kitty with nice soft fur, nor a dog that will run
+and jump and play with them, nor a canary-bird to wake
+them up with his sweet songs; but it is a turtle, which the
+boys found trying to get across the street near their home.</p>
+
+<p>John, who is three years old, said, "I guess the poor little
+turtle is lost, and is trying to find his mamma again." So
+he picked him up, when away went his head, legs, and tail,
+all tucked under his shell. He looked like a box shut
+almost tight. When he was put in the water, out they came
+again.</p>
+
+<p>He spends the whole day trying to climb the sides of the
+smooth pan he is in, slipping back, and trying again. We
+put in a large shell to serve him for a house; and one day
+he climbed to the top of it, got out of his pan, and crawled
+over the carpet into the next room. So we had to take his
+house away.</p>
+
+<p>I think we shall have to name him Willie Winkie, because
+he opens and shuts his eyes so often and so quickly.</p>
+
+<p>Charley and John have the promise of a garden all to
+themselves when summer comes here. Perhaps by and by,
+we will tell the other children who read "The Nursery,"
+how they get on with it, and what kinds of flowers they
+raise.</p>
+
+<div class='sig'>
+C. R. S.<br />
+</div>
+<p><span class="smcap">St. Paul, Minn.</span><br /></p>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span></p>
+
+<div class="figcenter" style="width: 442px;">
+<img src="images/illus077.png" width="442" height="450" alt="THE LAZY SHEPHERD" title="" />
+</div>
+
+
+
+
+<h2>THE LAZY SHEPHERD.</h2>
+
+
+<p><span class="smcap">Some</span> years ago in Scotland, two boys, whose names were
+Henry Bright and John Yorner, were left orphans by the
+death of parents. Mr. Donald, a good man, who had nine
+or ten thousand sheep, and employed many shepherds, took
+both these boys into his employ.</p>
+
+<p>"Now, boys," said he, "a shepherd's life may be barren
+or fruitful, lazy or active, just as you choose to make it. In
+pleasant weather, while you are tending the sheep, if you
+have good dogs to help you, you can, if you choose, find<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span>
+leisure for reading and for study, and at the same time not
+neglect your proper duties.</p>
+
+<p>"If you want books, come to my house, and I will lend
+them to you. You have eight years to serve before you
+are twenty-one; and in that time you can fit yourselves for
+employments that will yield you much more than the work
+of a shepherd."</p>
+
+<p>Henry Bright first suited himself to a good dog, and
+taught him so well, that Plato&mdash;such was the dog's name&mdash;soon
+took almost the whole care of a hundred sheep that
+Henry had to look after. The lad would take a seat under
+the shelter of some rock, and read and study, while Plato
+would lie at his feet, or run round to see that no sheep or
+lamb was straying too far from the pasture-ground.</p>
+
+<p>But John Yorner was lazy, and did not care for books.
+He would not take the trouble even to teach a dog his
+duties. He would lie on a bank in the sun, with his hands
+clasped above his head, and there sleep away the long hours
+before dinner. Often his sheep would stray away and get
+lost; so that Mr. Donald once said to him, "I fear you are
+not fit even for a shepherd, John."</p>
+
+<p>You may easily guess what the result was at the end of
+eight years. John Yorner was a shepherd still: he had not
+been promoted to any better employment. He loved idleness
+too well. One must be diligent if he would be faithful
+and succeed.</p>
+
+<p>As for Henry, he applied himself to the study of arithmetic,
+and became so skilled in that branch of study, that,
+before he was nineteen, his services were wanted by a large
+mercantile house in Glasgow. There he made himself so
+useful, that his success became no longer a matter of doubt.</p>
+
+<p>Oh the days of youth, how precious they are! Do not
+be like the lazy shepherd, my little friends!</p>
+
+<div class='sig'>
+<span class="smcap">Uncle Charles.</span><br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></p>
+
+
+
+
+<h2>SEVENTH LESSON IN ASTRONOMY.</h2>
+
+
+<p><span class="smcap">You</span> all know that the sun comes to us in the morning,
+and goes away from us at night, and you say that it rises
+and sets. Does it rise and set in the same place?</p>
+
+<p>I know that is a foolish question to ask any child who
+lives with his eyes open. You all know, of course, that it
+rises opposite to where it went down the night before, and
+takes all day to cross the sky to its setting-place again.
+And you know it rises in the east, and sets in the west.</p>
+
+<p>But do you know that most of the stars, too, rise and set
+in this same way? Those of you who are old enough to be
+up when the stars are out can see for yourselves that this
+is so. You can see some stars rise, and some set, if there is
+nothing in your way, and you patiently watch; or you can
+pick out a particular star, and notice just where it is, and
+then, if you look for it later, you will see that it appears to
+have moved.</p>
+
+<p>All night long, and all day too, only we cannot see them
+in the sunlight, stars are rising, crossing the sky, and setting,
+the same stars coming up a little earlier each day. But
+there are some stars which neither rise nor set, and these I
+will tell you about some other time.</p>
+
+<p>Now, after all this that I have said about the rising and
+setting of the sun and stars, you will be surprised to learn
+that, so far as we can see, they never move at all. The
+planets&mdash;and our earth among them&mdash;move around the
+sun; but the sun stands still; and all the stars which are
+suns, shine always in the same place, and are hence called
+fixed stars. How, then, can they be said to rise and set?</p>
+
+<p>I will try to explain this in the next lesson. In the meantime
+you had better read again what I told you about the
+planets in the second lesson.</p>
+
+<div class='sig'>
+M. E. R.<br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span></p>
+
+
+
+
+<h2>HOW TO DRAW A PIG.</h2>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/illus080.png" width="600" height="840" alt="How to Draw a Pig" title="" />
+</div>
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_81" id="Page_81">[81]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus081.png" width="500" height="356" alt="A SIGHT OF THE OCEAN" title="" />
+</div>
+
+
+
+
+<h2>A SIGHT OF THE OCEAN.</h2>
+
+
+<p>"<span class="smcap">Oh</span>, what I would give for a sight of the ocean!" said
+Ruth Turner, as she sat one hot day in June in their little
+parlor, with her two sisters and their mother.</p>
+
+<p>"We must content ourselves in the city this summer,"
+said Mrs. Turner. "What with the great fire, and the
+stagnation of trade, your father has lost so much money
+that we cannot afford to hire a cottage by the sea-side
+this year."</p>
+
+<p>"Well, we must try to make home pleasant," said little
+Anna, whose pale, pinched face showed that the pent air of
+the city had already begun to affect her health.</p>
+
+<p>"Let us all shut our eyes, and imagine ourselves on the
+beach," said Ellen, who was the poetess of the family.</p>
+
+<p>At that moment, the postman's knock at the door gave
+promise of a letter. Ruth ran to get it, and, returning in a<span class='pagenum'><a name="Page_82" id="Page_82">[82]</a></span>
+moment, handed her mother a note, and said, "It is from
+that ugly, fat old Mr. Jenks, the grocer: his name is on
+the back. What can he want?"</p>
+
+<p>"Give me the letter, child," said Mrs. Turner; "and do
+not let me hear you speak of any fellow-being with contempt,
+because he is ugly, fat, or old. Mr. Jenks is all the
+time doing kind things. I am sorry to hear that his wife
+is ill."</p>
+
+<p>Mrs. Turner opened the letter, read it, and said, while
+her face flushed, "Hear this, Miss Ruth, you who were so
+quick to speak ill of Mr. Jenks:&mdash;</p>
+
+<p>"<span class="smcap">Dear Mrs. Turner</span>,&mdash;Wife and I have concluded to
+take the next steamer for England, not to be back till next
+October. You and your honest husband must at once go
+down with your family, and occupy my furnished cottage at
+Crescent Beach. Cellar and store-closet are well stocked
+with groceries. Use and consume every thing as if it were
+your own. Don't say <i>no</i>, but send me round word that you
+will do it. I don't like to leave the cottage empty."</p>
+
+<p>Ruth ran to a corner of the room, turned her face to the
+wall, and covered it with her hands.</p>
+
+<p>"Handsome is, that handsome does, Miss Ruth," cried
+little Anna.</p>
+
+<p>"Well, Ruth, shall we accept the invitation?" said her
+mother.</p>
+
+<p>"On one condition," said Ruth, turning round; "and that
+is, that you let me go and thank Mr. Jenks myself for his
+great kindness. He is not old; he is not ugly; and, if he
+is fat, so much the better."</p>
+
+<p>The good grocer's offer was gratefully accepted. The
+little girls now pass most of the summer days on the beach,
+where they pick up shells, and pretty white stones, or bathe
+in the salt ocean. Every morning brings fresh delights.<span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>
+Anna has rosy cheeks once more, and as for Ellen, she sits
+on the rocks, and sketches, or writes poetry, every day.</p>
+
+<p>Ruth has broken herself of the bad habit of speaking ill
+of persons because of their looks. She knows now that a
+man may be "old, fat, and ugly," and at the same time be
+full of love and kindness.</p>
+
+<div class='sig'>
+<span class="smcap">Dora Burnside.</span><br />
+</div>
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<div class="figcenter" style="width: 300px;">
+<img src="images/illus083.png" width="300" height="283" alt="RUTH&#39;S WISHES" title="" />
+</div>
+
+
+
+
+<h2>RUTH'S WISHES.</h2>
+
+
+<div class='poem'>
+"<span class="smcap">I'd</span> like to be now<br />
+A bird on a bough,"<br />
+Said Ruth, one hot day<br />
+As she paused in her play:<br />
+"I'd like to be now<br />
+<span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>A bird on a bough.<br />
+<br />
+"To be like a fish<br />
+In the sea is my wish,<br />
+Where the water is cool,<br />
+And they go to no school:<br />
+To be like a fish<br />
+In the sea is my wish.<br />
+<br />
+"A squirrel I'd be<br />
+High up on a tree;<br />
+For he can go where<br />
+He gets plenty of air:<br />
+A squirrel I'd be<br />
+High up on a tree.<br />
+<br />
+"A stag in a wood<br />
+I'd be, if I could:<br />
+He can lie on the ground<br />
+Where 'tis cool all around:<br />
+A stag in a wood<br />
+I'd be, if I could."<br />
+<br />
+So wished, in her folly,<br />
+Ruth, holding her dolly;<br />
+The heat of the noon<br />
+Put her all out of tune:<br />
+So wished, in her folly,<br />
+Ruth, holding her dolly.<br />
+</div>
+
+<div class='sig'>
+<span class="smcap">Emily Carter.</span><br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></p>
+
+<div class="figcenter" style="width: 364px;">
+<img src="images/illus085.png" width="364" height="425" alt="Geese" title="" />
+</div>
+
+
+
+
+<h2>PHILIP'S NEW WHIP.</h2>
+
+<div class='story'>
+<p><span class="smcap">Now</span>, what is all this noise
+about? The hens cackle and
+run about. The pig squeals.<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span>
+Over the fence flies the old
+gander, and after him flies the
+goose. Now, what can be the
+matter?</p>
+
+<p>I will tell you. It all comes
+from this: our little Philip has
+had a present of a new whip;
+and the first thing he does with
+it is to see how his friends in
+the barn-yard like it.</p>
+
+<p>He does not like to try it on
+the horse or on the cow; for
+the horse can kick, and the cow
+can hook with her horns. So,
+like a little coward, he frightens
+the hens, and the poor geese,
+and the pig, shut up in his pen.</p>
+
+<p>I do not think it right. We
+ought to protect the weak, and
+not try to scare or hurt them.</p>
+</div>
+<div class='sig'>
+A. B. C.<br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_87" id="Page_87">[87]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus087.png" width="500" height="332" alt="THE THREE LITTLE LADIES" title="" />
+</div>
+
+
+
+
+<h2>THE THREE LITTLE LADIES.</h2>
+
+
+<div class='poem'>
+<span class="smcap">Now</span>, who can find out<br />
+What these three little ones are about?<br />
+Very busy, you see,<br />
+They all seem to be;<br />
+But what they are doing,<br />
+What work or what pleasure pursuing,<br />
+Is more than my wisdom can tell:<br />
+And are not you puzzled as well?<br />
+<br />
+One little lady is standing<br />
+On a cricket in posture commanding;<br />
+Another is pulling out pieces<br />
+From a drawer as fast as she pleases;<br />
+Another is bearing a roll&mdash;<br />
+But what for? It is all very droll.<br />
+And pray what is pussy about?<br />
+<span class='pagenum'><a name="Page_88" id="Page_88">[88]</a></span>She joins in the frolic, no doubt.<br />
+<br />
+These three little ladies, my dear,<br />
+Know what they're about: that is clear.<br />
+'Tis something important, you see,<br />
+Though a puzzle to you and to me;<br />
+For they each look as grave as a judge:<br />
+So, old folks, don't laugh, and cry, "Fudge!"<br />
+It may be that your own great affairs<br />
+Are not any more useful than theirs.<br />
+</div>
+
+<div class='sig'>
+<span class="smcap">Alfred Selwyn.</span><br />
+</div>
+
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<h2>GRANDMA'S STORY.</h2>
+
+
+<p><span class="smcap">I am</span> only five years old; but I have a great deal of
+trouble. Papa pulls my ears, and calls me a sad rogue;
+brother Tom asks me every night what new mischief I have
+been up to today; and poor mamma sighs, and says I am
+the most troublesome child she ever saw.</p>
+
+<p>But dear good grandma looks up from her knitting, and
+smiles as she says, "Tut, tut, daughter! Our Amy isn't
+any worse than a little girl I knew some thirty years ago."</p>
+
+<p>"O grandma!" cried I one day, "do please tell me about
+her; for I like to hear about naughty little girls. What
+was her name, grandma?"</p>
+
+<p>Grandma looked over her spectacles at mamma and
+smiled, and mamma nodded and smiled back. Then grandma
+said, "I think I will tell you of one of little Clara's
+capers; but mind, you are not to go and do the same thing
+the first chance you get."</p>
+
+<p>This is the story as grandmother told it,&mdash;</p>
+
+<div class="blockquot"><p>"Little Clara lived on a farm away out in the country. She was the
+youngest of seven children, and a great pet, of course. But Clara's little<span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>
+restless feet and mischievous fingers often brought her into trouble and
+disgrace.</p>
+
+<p>"One day Clara's mother had occasion to go to the store, which was
+three miles away. Clara wanted to go too. Her mother feared she
+would be in the way, and looked doubtful; but big brother Ben said,
+'Let her go, mother. She'll be good, I know.'</p>
+
+<p>"'Yes; let her go,' said Susan, who was trying to net a bead purse,
+and keep Clara's fingers out of her box of beads at the same time.</p></div>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus089.png" width="500" height="377" alt="Did she behave herself?" title="" />
+</div>
+
+<p>"'Do let her go!' said Roger. 'I want to rig my ship this afternoon;
+and a fellow can't do much with her around.'</p>
+
+<div class="blockquot"><p>"So it was decided that Clara should go; and it was the work of but
+a few moments to polish up the chubby face and hands, and brush the
+curly hair. The pink dress, red shoes, and white sun-bonnet, were put
+on as quickly as possible, and Clara was ready.</p>
+
+<p>"'Now, do try to behave yourself, child,' said Susan, as Ben lifted
+the little girl into the wagon.</p>
+
+<p>"'Of course I will,' replied Clara, pouting her red lips.</p>
+
+<p>"'But did she behave herself?' you ask. Ah! I will tell you.</p>
+
+<p>"When they reached the store, Mr. Dale, the storekeeper, came out<span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span>
+to assist them; and, as he helped Clara out of the wagon, he called her
+'a little lady,' which made her feel all of two inches taller than usual.
+Then he gave her a stick of candy, and lifted her to a seat on the
+counter, close beside a dear old pussy-cat, who purred loudly as the little
+girl smoothed her fur.</p>
+
+<p>"Clara's mother had a good many things to buy, and very soon forgot
+all about her little daughter; but when Ben came in, half an hour later,
+his first question was, 'Where's Clara, mother?'</p>
+
+<p>"Sure enough, where was Clara? Her seat was empty. She had
+disappeared. 'Clara, Clara!' called both her mother and Ben; but
+there was no answer.</p>
+
+<p>"'She's in some mischief,' said Ben; and, as quick as thought, he
+rushed into the back part of the store, followed by his mother and Mr.
+Dale. What a sight met their eyes! There stood Clara, in the centre
+of the room, stepping back slowly, as a pool of molasses, streaming
+steadily from a hogshead in the corner, crept towards the toes of her
+little red shoes. Ben caught up Clara as quick as a flash, and&mdash;&mdash;"</p></div>
+
+<p>"No, grandma," interrupted mamma, "it was Mr. Dale
+who did that, while Ben made haste to turn the faucet to
+prevent further mischief."</p>
+
+<p>"Why, mamma," said I, "how do you know? Were you
+there?"</p>
+
+<p>"I heard about it," said she; and she and grandma both
+smiled. "The little girl was just my age, and I knew her
+very well."</p>
+
+<p>"And your names were both Clara," said I. "How
+queer!"</p>
+
+<p>And mamma and grandma must have thought it queer,
+too; for they both laughed heartily.</p>
+
+<div class='sig'>
+F. A. B.<br />
+</div>
+
+<div class="figcenter" style="width: 250px;">
+<img src="images/illus090.png" width="250" height="164" alt="Nut" title="" />
+</div>
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus091.png" width="500" height="433" alt="AUNT MATILDA" title="" />
+</div>
+
+
+
+<h2>AUNT MATILDA.</h2>
+
+
+<p><span class="smcap">What</span> should we do in our house if it were not for our
+Aunt Matilda? She is the first one out of bed in the
+morning, and the last one to go to bed at night. She
+sees that things are right in the kitchen, and right in the
+parlor.</p>
+
+<p>Father wants his breakfast by half-past six o'clock this
+summer weather. Aunt Matilda rises before five, and calls
+the girls, and sees that the rooms are in order. Then she
+calls the children to be washed and dressed.</p>
+
+<p>Yes, that is a good likeness of her, as you see her combing
+my hair. She is not young, you perceive, nor yet very
+old. Sometimes I get a little impatient, and fidget, because<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span>
+she is so particular; but our quarrels always end in my kissing
+her, and saying, "You are a darling Aunty, after all."</p>
+
+<p>Mother is an invalid: so she cannot do much house-work,
+or see to the children. But Aunt Matilda is mother, aunt,
+and house-maid, all in one. Sometimes she even acts as
+stable-boy, and harnesses the horse to the carryall; for
+there are few things that Aunty does not know how to do,
+and to do well.</p>
+
+<p>Do we go to school? Yes, and no. Our only school is
+one that Aunt Matilda keeps for us in the library. She
+teaches us to read, to write, and to draw. She can play on
+the piano, and has begun to teach me music. Oh! What
+<i>should</i> we all do without Aunt Matilda?</p>
+
+<div class='sig'>
+<span class="smcap">Miss Maud.</span><br />
+</div>
+
+
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<h2>ANNA'S BIRD.</h2>
+
+
+<p><span class="smcap">Anna</span> has a little bird, and she calls it Tot. You must
+try to find out from the picture what sort of a bird it is.
+It can sing and play; and it is so tame, that it will put its
+bill between Anna's lips when she says, "Kiss me, Tot."</p>
+
+<p>Her dog Fancy is quite fond of the bird, and will let it
+light on his head; and Anna is trying to make Muff, the
+cat, give up her habit of killing birds. But I hope that
+Anna will be careful, and not trust Muff too far.</p>
+
+<p>I have heard of a cat in a bird-shop, that was trained to
+take care of birds, instead of harming them; but this is a
+rare case. It is hard to keep a cat from catching birds, and
+from troubling the little young ones in their nests.</p>
+
+<p>Anna is so fond of Tot, that she will not let a cat come
+into the room where he is. Tot can whistle a tune. He
+likes to light on Anna's head, and will sometimes almost<span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span>
+hide himself under her thick hair. She feeds him, and gives
+him a bath every day, and lets him fly about the room.</p>
+
+<div class="figcenter" style="width: 315px;">
+<img src="images/illus093.png" width="315" height="425" alt="ANNA&#39;S BIRD" title="" />
+</div>
+
+<p>If Tot were to fly out of the window, I think he would
+try to get back to his own little cage, so fond is he of Anna.</p>
+
+<div class='sig'>
+<span class="smcap">Anna's Aunt.</span><br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></p>
+
+
+
+
+<h2>THE STORY OF THE SQUASHES.</h2>
+
+
+<p><span class="smcap">I know</span> of two little boys, twin-brothers, who are just five
+years old. They are so nearly alike that their best friends
+can scarcely tell them apart. Sturdy little men they are;
+so strong and fair and stout, that I should be glad to kiss
+them even when they have come from the dirtiest depths
+of their mud-pies. I fancy their mother sighs often over
+their torn pantaloons, their battered hats, and their soiled
+boots; but for all that, they <i>must</i> play, and things will
+wear out.</p>
+
+<p>One day in the fall, their papa sent up to the house a
+farmer's wagon full of great beautiful squashes, to be put
+into the cellar for the winter's use. The farmer put the
+squashes on the ground close by the cellar-door ready for
+storage. But, when their papa came home, the squashes
+had disappeared, and he inquired who had put them into
+the cellar, and went down to see if they had been properly
+stored.</p>
+
+<p>But there were no squashes there. And he inquired
+again where they were; but no one knew. He called to the
+boys, who were playing horse on the sidewalk, to ask if they
+knew any thing of the squashes. Oh, yes! and they ran
+to the barn, he following; and where do you suppose the
+squashes were? In the pig-pen&mdash;every one of them!</p>
+
+<p>They had toiled and tugged, and carried every squash&mdash;and
+many of them were large&mdash;out there, and fed them to
+the pigs.</p>
+
+<p>The mischief done, who could scold those two bright,
+hard-working little men? I think their papa had to console
+himself with thinking if only they would work as well at
+something useful when they were grown up, he could forgive
+their rather wasteful business when they were little.</p>
+
+<div class='sig'>
+C. D. B.<br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_95" id="Page_95">[95]</a></span></p>
+
+
+
+
+<h2>CHARLIE'S COMPOSITION.</h2>
+
+
+<p><span class="smcap">Charlie</span> was ten years old, and his teacher thought he
+should begin to write compositions. So she gave him a list
+of words, and told him to write a letter or story, and put
+them all in.</p>
+
+<p>The words were these: Begun, Write, Boy, Hook, Two,
+Black, Said, Basket, Knife, Chair, Eyes, Ground.</p>
+
+<p>Charlie went home; and, before he went out to play
+in the afternoon, his mother said, "You had better work
+a while on your composition."</p>
+
+<p>"Oh, I never can do it!" he said. "Mother, you try
+too, and see if you can write one." So she took his list and
+wrote this true story,&mdash;</p>
+
+<div class="blockquot"><p>"A little <i>boy</i> with roguish <i>black eyes</i> was sitting on the floor, playing
+with some spools that he had taken from his mother's work-<i>basket</i>, which
+she had left in a <i>chair</i>. All at once he saw a cow coming up the yard.
+He dropped every thing, and ran to drive her out. She threw up her
+head, and looked so fierce, that he was afraid she would <i>hook</i> him, and
+back he ran to the house.</p>
+
+<p>"Then he spied a fruit-<i>knife</i> on the <i>ground</i>, where he had left it when
+he was eating an apple in the morning. He picked it up, and carried it
+to his mother, who had just <i>begun</i> to <i>write</i>, and she <i>said</i>, that, if he would
+keep still about <i>two</i> minutes, she would attend to him."</p></div>
+
+<p>"There," said mamma, "I have put in all the words:
+now you try, Charlie."</p>
+
+<p>Charlie then wrote:&mdash;</p>
+
+<div class="blockquot"><p>"I saw <i>two hooks</i> and <i>eyes</i> just as I had begun to <i>write</i>. Johnny
+brought mother's <i>knife</i>, which he found lying on the <i>ground</i>. He joggled
+mother's <i>chair</i>, and she <i>said</i>, 'There's a <i>black</i> mark on my paper, and
+oh, dear! the <i>boy</i> has tipped over my <i>basket</i>.' That's all."</p></div>
+
+<p>His mother read what Charlie had written, and said,
+"Pretty good for the first time;" and off he went to play.</p>
+
+<div class='sig'>
+L. J. D.<br />
+</div>
+
+<div class="figcenter" style="width: 139px;"><img src="images/divider1.png" width="139" height="19" alt="Divider" title="" /></div>
+<p><span class='pagenum'><a name="Page_96" id="Page_96">[96]</a></span></p>
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus096.png" width="500" height="219" alt="THE PEDLAR." title="" />
+</div>
+
+
+
+
+
+<h2>THE PEDLAR.</h2>
+
+
+<div class="figcenter" style="width: 500px;">
+<img src="images/illus096-music.png" width="500" height="542" alt="Music" title="" />
+</div>
+<div class="center"><small>[<i>Transcriber's Note: You can play this music (MIDI file) by clicking</i> <a href="music/sept77.mid">here</a>.]</small><br /><br /></div>
+
+<div class='poem2'>
+1. I wish I liv'd in a caravan<br />
+<span style="margin-left: 1em;">With a horse to drive like a pedlar-man,</span><br />
+<span style="margin-left: 1em;">Wherever he comes from nobody knows,</span><br />
+<span style="margin-left: 1em;">But merrily thro' the town he goes.</span><br />
+<br />
+2. His caravan it is painted blue,<br />
+<span style="margin-left: 1em;">With a chimney small where the smoke comes thro';</span><br />
+<span style="margin-left: 1em;">And there is his wife with baby so brown,</span><br />
+<span style="margin-left: 1em;">And onward they go from town to town.</span><br />
+<br />
+3. "Old chairs to mend, and new jugs to sell,"<br />
+<span style="margin-left: 1em;">How he makes the basins ring like a bell!</span><br />
+<span style="margin-left: 1em;">With baskets and tea-trays glossy and trim,</span><br />
+<span style="margin-left: 1em;">And plates with my name around the brim.</span><br />
+<br />
+4. A pedlar-man I should like to roam,<br />
+<span style="margin-left: 1em;">And a book I'd write when I came back home;</span><br />
+<span style="margin-left: 1em;">And all the good folks would study my book,</span><br />
+<span style="margin-left: 1em;">And famous I'd be like Captain Cook.</span><br />
+</div>
+<hr style="width: 65%;" />
+
+<div class='tnote'><h3>Transcriber's Notes</h3>
+<p>The July edition of the Nursery had a table of contents for the next
+six issues of the year. This table was divided to cover each specific
+issue. A title page copied from this same July edition was also used for
+this number and the issue number added after the Volume number.
+</p></div>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The Nursery, September 1877, Vol. XXII, 
+No. 3, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, SEPTEMBER 1877 ***
+
+***** This file should be named 28137-h.htm or 28137-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/8/1/3/28137/
+
+Produced by Emmy, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+by Linda Cantoni.
+
+
+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, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation 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.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/28137-h/images/contents.png b/28137-h/images/contents.png
new file mode 100644
index 0000000..5584228
--- /dev/null
+++ b/28137-h/images/contents.png
diff --git a/28137-h/images/contents_end.png b/28137-h/images/contents_end.png
new file mode 100644
index 0000000..0cab884
--- /dev/null
+++ b/28137-h/images/contents_end.png
diff --git a/28137-h/images/divider1.png b/28137-h/images/divider1.png
new file mode 100644
index 0000000..e084d2e
--- /dev/null
+++ b/28137-h/images/divider1.png
diff --git a/28137-h/images/illus065.png b/28137-h/images/illus065.png
new file mode 100644
index 0000000..d110fe8
--- /dev/null
+++ b/28137-h/images/illus065.png
diff --git a/28137-h/images/illus066.png b/28137-h/images/illus066.png
new file mode 100644
index 0000000..cab5953
--- /dev/null
+++ b/28137-h/images/illus066.png
diff --git a/28137-h/images/illus067.png b/28137-h/images/illus067.png
new file mode 100644
index 0000000..10e4c93
--- /dev/null
+++ b/28137-h/images/illus067.png
diff --git a/28137-h/images/illus068.png b/28137-h/images/illus068.png
new file mode 100644
index 0000000..83b6074
--- /dev/null
+++ b/28137-h/images/illus068.png
diff --git a/28137-h/images/illus069.png b/28137-h/images/illus069.png
new file mode 100644
index 0000000..aa104ae
--- /dev/null
+++ b/28137-h/images/illus069.png
diff --git a/28137-h/images/illus071.png b/28137-h/images/illus071.png
new file mode 100644
index 0000000..30837ad
--- /dev/null
+++ b/28137-h/images/illus071.png
diff --git a/28137-h/images/illus073.png b/28137-h/images/illus073.png
new file mode 100644
index 0000000..6acf340
--- /dev/null
+++ b/28137-h/images/illus073.png
diff --git a/28137-h/images/illus074.png b/28137-h/images/illus074.png
new file mode 100644
index 0000000..48f8c87
--- /dev/null
+++ b/28137-h/images/illus074.png
diff --git a/28137-h/images/illus075.png b/28137-h/images/illus075.png
new file mode 100644
index 0000000..03d05b5
--- /dev/null
+++ b/28137-h/images/illus075.png
diff --git a/28137-h/images/illus076.png b/28137-h/images/illus076.png
new file mode 100644
index 0000000..ca25fd2
--- /dev/null
+++ b/28137-h/images/illus076.png
diff --git a/28137-h/images/illus077.png b/28137-h/images/illus077.png
new file mode 100644
index 0000000..08e6b5e
--- /dev/null
+++ b/28137-h/images/illus077.png
diff --git a/28137-h/images/illus080.png b/28137-h/images/illus080.png
new file mode 100644
index 0000000..cd93f7e
--- /dev/null
+++ b/28137-h/images/illus080.png
diff --git a/28137-h/images/illus081.png b/28137-h/images/illus081.png
new file mode 100644
index 0000000..1e4079a
--- /dev/null
+++ b/28137-h/images/illus081.png
diff --git a/28137-h/images/illus083.png b/28137-h/images/illus083.png
new file mode 100644
index 0000000..cb47389
--- /dev/null
+++ b/28137-h/images/illus083.png
diff --git a/28137-h/images/illus085.png b/28137-h/images/illus085.png
new file mode 100644
index 0000000..dc71b3f
--- /dev/null
+++ b/28137-h/images/illus085.png
diff --git a/28137-h/images/illus087.png b/28137-h/images/illus087.png
new file mode 100644
index 0000000..d07e6ea
--- /dev/null
+++ b/28137-h/images/illus087.png
diff --git a/28137-h/images/illus089.png b/28137-h/images/illus089.png
new file mode 100644
index 0000000..9c604f5
--- /dev/null
+++ b/28137-h/images/illus089.png
diff --git a/28137-h/images/illus090.png b/28137-h/images/illus090.png
new file mode 100644
index 0000000..fed49e4
--- /dev/null
+++ b/28137-h/images/illus090.png
diff --git a/28137-h/images/illus091.png b/28137-h/images/illus091.png
new file mode 100644
index 0000000..9ed6334
--- /dev/null
+++ b/28137-h/images/illus091.png
diff --git a/28137-h/images/illus093.png b/28137-h/images/illus093.png
new file mode 100644
index 0000000..e1ff60b
--- /dev/null
+++ b/28137-h/images/illus093.png
diff --git a/28137-h/images/illus096-music.png b/28137-h/images/illus096-music.png
new file mode 100644
index 0000000..77be4c5
--- /dev/null
+++ b/28137-h/images/illus096-music.png
diff --git a/28137-h/images/illus096.png b/28137-h/images/illus096.png
new file mode 100644
index 0000000..5f013aa
--- /dev/null
+++ b/28137-h/images/illus096.png
diff --git a/28137-h/music/sept77.mid b/28137-h/music/sept77.mid
new file mode 100644
index 0000000..d856e66
--- /dev/null
+++ b/28137-h/music/sept77.mid
diff --git a/28137-page-images/p065.png b/28137-page-images/p065.png
new file mode 100644
index 0000000..4a500d0
--- /dev/null
+++ b/28137-page-images/p065.png
diff --git a/28137-page-images/p066.png b/28137-page-images/p066.png
new file mode 100644
index 0000000..eeb0787
--- /dev/null
+++ b/28137-page-images/p066.png
diff --git a/28137-page-images/p067.png b/28137-page-images/p067.png
new file mode 100644
index 0000000..379f340
--- /dev/null
+++ b/28137-page-images/p067.png
diff --git a/28137-page-images/p068.png b/28137-page-images/p068.png
new file mode 100644
index 0000000..2dda086
--- /dev/null
+++ b/28137-page-images/p068.png
diff --git a/28137-page-images/p069.png b/28137-page-images/p069.png
new file mode 100644
index 0000000..17e74dc
--- /dev/null
+++ b/28137-page-images/p069.png
diff --git a/28137-page-images/p070.png b/28137-page-images/p070.png
new file mode 100644
index 0000000..6e59c26
--- /dev/null
+++ b/28137-page-images/p070.png
diff --git a/28137-page-images/p071.png b/28137-page-images/p071.png
new file mode 100644
index 0000000..0fb60c5
--- /dev/null
+++ b/28137-page-images/p071.png
diff --git a/28137-page-images/p072.png b/28137-page-images/p072.png
new file mode 100644
index 0000000..916729c
--- /dev/null
+++ b/28137-page-images/p072.png
diff --git a/28137-page-images/p073.png b/28137-page-images/p073.png
new file mode 100644
index 0000000..bd2638c
--- /dev/null
+++ b/28137-page-images/p073.png
diff --git a/28137-page-images/p074.png b/28137-page-images/p074.png
new file mode 100644
index 0000000..a4f7bf6
--- /dev/null
+++ b/28137-page-images/p074.png
diff --git a/28137-page-images/p075.png b/28137-page-images/p075.png
new file mode 100644
index 0000000..8f48942
--- /dev/null
+++ b/28137-page-images/p075.png
diff --git a/28137-page-images/p076.png b/28137-page-images/p076.png
new file mode 100644
index 0000000..5a94d43
--- /dev/null
+++ b/28137-page-images/p076.png
diff --git a/28137-page-images/p077.png b/28137-page-images/p077.png
new file mode 100644
index 0000000..e326f00
--- /dev/null
+++ b/28137-page-images/p077.png
diff --git a/28137-page-images/p078.png b/28137-page-images/p078.png
new file mode 100644
index 0000000..9dcfa15
--- /dev/null
+++ b/28137-page-images/p078.png
diff --git a/28137-page-images/p079.png b/28137-page-images/p079.png
new file mode 100644
index 0000000..17ab46a
--- /dev/null
+++ b/28137-page-images/p079.png
diff --git a/28137-page-images/p080.png b/28137-page-images/p080.png
new file mode 100644
index 0000000..7c9b638
--- /dev/null
+++ b/28137-page-images/p080.png
diff --git a/28137-page-images/p081.png b/28137-page-images/p081.png
new file mode 100644
index 0000000..0f2c269
--- /dev/null
+++ b/28137-page-images/p081.png
diff --git a/28137-page-images/p082.png b/28137-page-images/p082.png
new file mode 100644
index 0000000..df7dc62
--- /dev/null
+++ b/28137-page-images/p082.png
diff --git a/28137-page-images/p083.png b/28137-page-images/p083.png
new file mode 100644
index 0000000..995e9b7
--- /dev/null
+++ b/28137-page-images/p083.png
diff --git a/28137-page-images/p084.png b/28137-page-images/p084.png
new file mode 100644
index 0000000..39c40b6
--- /dev/null
+++ b/28137-page-images/p084.png
diff --git a/28137-page-images/p085.png b/28137-page-images/p085.png
new file mode 100644
index 0000000..6e7c0c0
--- /dev/null
+++ b/28137-page-images/p085.png
diff --git a/28137-page-images/p086.png b/28137-page-images/p086.png
new file mode 100644
index 0000000..141bddd
--- /dev/null
+++ b/28137-page-images/p086.png
diff --git a/28137-page-images/p087.png b/28137-page-images/p087.png
new file mode 100644
index 0000000..790db50
--- /dev/null
+++ b/28137-page-images/p087.png
diff --git a/28137-page-images/p088.png b/28137-page-images/p088.png
new file mode 100644
index 0000000..cc1370d
--- /dev/null
+++ b/28137-page-images/p088.png
diff --git a/28137-page-images/p089.png b/28137-page-images/p089.png
new file mode 100644
index 0000000..44722ea
--- /dev/null
+++ b/28137-page-images/p089.png
diff --git a/28137-page-images/p090.png b/28137-page-images/p090.png
new file mode 100644
index 0000000..40ca2fa
--- /dev/null
+++ b/28137-page-images/p090.png
diff --git a/28137-page-images/p091.png b/28137-page-images/p091.png
new file mode 100644
index 0000000..1be145d
--- /dev/null
+++ b/28137-page-images/p091.png
diff --git a/28137-page-images/p092.png b/28137-page-images/p092.png
new file mode 100644
index 0000000..0999808
--- /dev/null
+++ b/28137-page-images/p092.png
diff --git a/28137-page-images/p093.png b/28137-page-images/p093.png
new file mode 100644
index 0000000..144cbd2
--- /dev/null
+++ b/28137-page-images/p093.png
diff --git a/28137-page-images/p094.png b/28137-page-images/p094.png
new file mode 100644
index 0000000..bf32b64
--- /dev/null
+++ b/28137-page-images/p094.png
diff --git a/28137-page-images/p095.png b/28137-page-images/p095.png
new file mode 100644
index 0000000..8754a3a
--- /dev/null
+++ b/28137-page-images/p095.png
diff --git a/28137-page-images/p096.png b/28137-page-images/p096.png
new file mode 100644
index 0000000..a0709af
--- /dev/null
+++ b/28137-page-images/p096.png
diff --git a/28137.txt b/28137.txt
new file mode 100644
index 0000000..6aed30a
--- /dev/null
+++ b/28137.txt
@@ -0,0 +1,1403 @@
+Project Gutenberg's The Nursery, September 1877, Vol. XXII, No. 3, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Nursery, September 1877, Vol. XXII, No. 3
+       A Monthly Magazine for Youngest Readers
+
+Author: Various
+
+Release Date: February 20, 2009 [EBook #28137]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, SEPTEMBER 1877 ***
+
+
+
+
+Produced by Emmy, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+by Linda Cantoni.
+
+
+
+
+
+
+
+
+THE
+
+NURSERY
+
+
+_A Monthly Magazine_
+
+
+FOR YOUNGEST READERS.
+
+
+VOLUME XXII.--No. 3.
+
+
+          BOSTON:
+          JOHN L. SHOREY, No. 36 BROMFIELD STREET,
+          1877.
+
+
+
+
+          Entered according to Act of Congress, in the year 1877, by
+          JOHN L. SHOREY,
+          In the Office of the Librarian of Congress at Washington.
+
+
+          FRANKLIN PRESS:
+          RAND, AVERY, AND COMPANY,
+          117 FRANKLIN STREET,
+          BOSTON.
+
+
+
+
+[Illustration: Contents.]
+
+
+IN PROSE.
+
+                                                PAGE
+  Introduced to the Atlantic Ocean                65
+  Roses and Insects                               68
+  Garry and the Rake                              71
+  A true Story of a Partridge                     74
+  A Letter from Minnesota                         76
+  The lazy Shepherd                               77
+  Seventh Lesson in Astronomy                     79
+  A Sight of the Ocean                            81
+  Philip's new Whip                               85
+  Grandma's Story                                 88
+  Aunt Matilda                                    91
+  Anna's Bird                                     92
+  The Story of the Squashes                       94
+  Charlie's Composition                           95
+
+
+IN VERSE.
+
+                                                PAGE
+  Top-Knot                                        70
+  Crossing the Brook with Harry                   72
+  How to draw a Pig                               80
+  Ruth's Wishes                                   83
+  The three little Ladies                         87
+  The Pedlar (_with music_)                       96
+
+[Illustration: VOL. XXII.--NO. 3.]
+
+
+
+
+INTRODUCED TO THE ATLANTIC OCEAN.
+
+
+"[Illustration: N]OW for it, girls! Let me introduce you to the Atlantic
+Ocean! Mr. Ocean, these are my three cousins from Kentucky: Miss Jenny,
+Miss Eva, and Miss Kate Logan. They never saw you till today. This lady
+on my left is my sister, Miss Dora Drake, the best swimmer at Brant Rock
+Beach; but her you know already, also my dog Andy."
+
+"Oh! I don't want to go any further. I'm afraid of the Atlantic Ocean,"
+cried little Kate Logan.
+
+"Nonsense!" said Master Tom Drake. "Look at Andy with the stick in his
+mouth. Why, if the Atlantic Ocean were to try to drown us, Andy would
+save us every one. Shall I tell you what he did last summer?"
+
+"We can't stop for stories now, Tom," said sister Dora. "We must attend
+to our bathing. Here comes a wave that will give us a good ducking."
+
+"Oh! oh, dear! It has taken my breath all away!" cried little Kate, as
+the wave lifted her off her feet and curled and gurgled round her neck.
+
+"It is only the Atlantic Ocean making a bow to you, my dear; clasping
+you lovingly round the neck, and whispering soft nonsense," said Tom,
+dropping the hands of Eva and Kate, and swimming off into deep water
+with Andy.
+
+Jenny and Eva did not know how to swim: so they jumped up and down in
+the water, while Dora took Kate on her back, and swam out after Tom. She
+soon overtook him and pushed his head under water; but Tom came up light
+as a cork, and splashed the water all over Dora.
+
+"That will do, Tom," said she; "now, Andy, come here, and take this
+little girl on your back and carry her up on the dry sand."
+
+Then Dora placed Kate on the good dog's back, and the little girl threw
+her arms round his neck, and he swam with her through the deep water,
+and carried her up high on the dry, warm sand, where a lady and
+gentleman were seated, and another lady stood with a sun-shade over her
+head.
+
+But when Kate saw Tom and the girls all frolicking in the water, she
+cried out, "Oh, give me more of the Atlantic Ocean. I like him."
+
+She ran down to the water's edge, and into the water all alone; but Andy
+stood by to help her in case of need, and when she fell down flat, and
+the ocean covered her head, he took her up by her bathing-dress, and
+bore her once more up on the dry sand.
+
+All laughed, and little Kate laughed louder than any of them. "The
+Atlantic Ocean didn't get me that time," she said.
+
+I cannot tell you of all their frolics; but you may be sure that the
+little party from Kentucky grew quite familiar with the Atlantic Ocean
+after this introduction. Every day they would leave their little cottage
+on the height, and walk along the white sand in their bathing-dresses
+till they found a good place for bathing. Tom and Andy always went with
+them to protect them from harm.
+
+When Jenny, Eva, and Kate get back to Kentucky, next September, what
+stories they will have to tell of the pleasant times they had at Brant
+Rock Beach! It lies not far from the town of Marshfield in
+Massachusetts. Perhaps you can find the name on your map.
+
+                                                      IDA FAY.
+
+[Illustration]
+
+[Illustration]
+
+
+
+
+ROSES AND INSECTS.
+
+
+WHAT sort of insects are a-phi'des? In plain English they are
+plant-lice. When about to pluck a rose-bud, have you not started
+sometimes to find it covered with little green insects? These are
+aphides.
+
+They suck the sap from the bud on the leaf; and every person who raises
+a rose-bush seeks to get rid of them. The little insect called the
+lady-bird destroys them in great numbers: so you must encourage
+lady-birds, if you want your roses to flourish.
+
+Most of us have heard of honey-dew, and know, probably, that it is a
+sweet, clammy substance, found on the leaves of various trees and
+plants, especially on the oak, the vine, the hop, and the honeysuckle.
+This honey-dew is extracted with the sap, secreted, and then thrown out
+in a pure state by the aphides.
+
+Besides the sweets which they scatter around them like sugar-plums, they
+always keep a good supply within the green jars of their bodies. By this
+lavish use of confectionery, they gain a few interested friends and some
+enemies like the lady-birds, that eat them up.
+
+Wherever the aphides abound, whether in hop-ground, bean-field, or
+rose-garden, there are lady-birds gathered together, and they are
+welcomed by the cultivator, if not by the aphis. (_Aphis_ is the
+singular noun, and _aphides_ its plural form.) But enough of aphis
+enemies, and now for the friends, which, as well as foes, they owe to
+the sweet milk--the honey-dew--which they give out. So these friends,
+you see, are fair-weather friends, interested friends; and among them
+are several varieties of the ant tribe.
+
+The ants do not hurt the aphides, but follow them for what they can get
+out of them. They are continually seen in company; and the ants
+sometimes drive off the lady-birds and other foes.
+
+The aphis, when attacked by its mortal foe the lady-bird, submits with a
+good grace. Never did Turk bend his neck to the bow-string, or rush upon
+the cimeter with greater courage, than the aphis submits itself to the
+murderous jaws of its devouring foes. It seems quite at ease, and enjoys
+life to the last bite or sup, while its companions are being killed, and
+their carcasses heaped up around it. It evidently thinks it is right to
+die quietly, like a great-minded little insect.
+
+                                                UNCLE CHARLES.
+
+[Illustration]
+
+
+
+
+TOP-KNOT.
+
+
+          PRETTY Biddy Top-knot has a hidden nest,
+          Out among the willows stretching toward the west:
+          Every day she runs there on her yellow legs,
+          To count and add another to her store of eggs.
+
+          Top-knot soon is missing from the garden walks:
+          No more with the other hens struts about and stalks!
+          No more is her cackle from the willows heard,
+          Where, but late, she noisily all the barn-yard stirred.
+
+          Down among the willows, stretching toward the west,
+          Top-knot's snowy turban shows above her nest:
+          Slanting ray of sunshine peeps in very bright;
+          Come and peep in with it, you shall see a sight.
+
+          Thirteen little chickens, downiest ever seen,
+          And joyous little Top-knot proud as any queen!
+          For that they are beauties all the hens agree:
+          Can you wonder Top-knot should so happy be?
+
+          Full of her importance, Top-knot doth appear,--
+          Thirteen little chickens she must feed and rear!
+          Soon more hens are missing!--are they lost or hid?
+          Think you they'll surprise us just as Top-knot did?
+
+                                                      FLETA F.
+
+[Illustration]
+
+
+
+
+GARRY AND THE RAKE.
+
+
+ONE summer afternoon, when the grassy slope before the house was untidy
+with fallen leaves, and sticks, and withered flowers, I asked Garry to
+go and bring the rake that we might clear away the rubbish.
+
+So off he ran, and soon came back with an _iron_ rake. Now, if you have
+ever tried one, you will know that an iron rake is not nearly as good
+for this purpose as a wooden rake, as it is heavy, and the teeth are so
+sharp that they tear the roots of the grass.
+
+I used it for a while; but, in spite of all I could do, the teeth would
+catch the roots. At last Garry exclaimed, "Grandma, let me take it. I
+can make it all right."
+
+I gave it to him, and the dear little boy took it behind a log, and was
+very busy and quiet for several minutes. Then I called, "Come, Garry, I
+don't believe you can help it."
+
+"Oh!" said he, "you just wait a little, and you will see." And, to be
+sure, in a very short time he brought me the rake, with a hard green
+apple on each outer tooth, pushed on just so far that the other teeth
+would catch the litter of leaves and sticks without disturbing the
+grass.
+
+Wasn't that a bright idea for a little boy five and a half years old?
+
+                                                            M.
+
+
+
+
+CROSSING THE BROOK WITH HARRY.
+
+
+            NOW, Harry, don't fear,
+            I will carry you, dear:
+          So keep very quiet and steady:
+            The brook is not wide,
+            Nor swift is the tide:
+          Now, for it, my pet--are you ready?
+            So over the stones we will go,
+            With step very careful and slow.
+
+            I never have slipped
+            As o'er them I tripped;
+          But then I had nothing to carry:
+            Now I must take heed,
+            The more haste, the worse speed;
+          For I bear in my arms little Harry:
+            So over the stones we will go,
+            With step very careful and slow.
+
+            Almost every bird
+            That ever I heard,
+          On the bank there seems now to be singing;
+          And I smell the sweet hay
+          From the field by the way;
+          The wind all its odor is bringing:
+          So over the stones we will go,
+          With step very careful and slow.
+
+[Illustration]
+
+                                                 EMILY CARTER.
+
+
+
+
+A TRUE STORY OF A PARTRIDGE.
+
+
+I WONDER if any of the children who read "The Nursery" have ever been in
+the woods of Maine. There grow the tall old pine-trees, with tops which
+seem to touch the sky, and thick interlacing branches, making a very
+dark shade overhead.
+
+[Illustration]
+
+There, too, grow the fragrant cedar-trees, with their bright green
+boughs, and trunks so hard and stout; and, loveliest of all, the
+graceful maple, whose green leaves turn crimson and gold when autumn
+comes.
+
+All these and many other trees grow in the great Maine forests; and
+birds build their nests and bring up their young among the branches; and
+under the trees, and all about, grow ferns, and mosses soft as velvet.
+
+Bright-eyed squirrels frisk about over the ground, and run nimbly up
+into the tree-tops; and pretty brown partridges walk daintily around,
+picking up seeds and berries to carry home to their baby-partridges,
+hidden away in soft nests on the ground.
+
+Through a forest like this, where it had always been so quiet and
+peaceful that the birds and squirrels did not know what it was to be
+afraid, a railroad-track was laid not long ago. Then the great engine
+went thundering on its way to a pleasant city by the sea, carrying with
+it a long train of cars, the smoke curling up brown and thick from the
+smoke-stack, and the shrill whistle waking the echoes among the distant
+hills.
+
+One day, when the train was going at full speed through the woods, a
+partridge, flying from one part of the forest to another, being
+frightened and bewildered by the noise, dashed against the smoke-stack,
+and fell at the engineer's feet. The engineer, whose name was Nathaniel
+Grant, took up the poor frightened bird, gently stroked its ruffled
+feathers, and carried it carefully to his home.
+
+There the partridge was treated with the greatest kindness, and soon got
+over its bruises. But it longed for the quiet woods, where its life had
+been spent. It could not eat, and seemed to be almost breaking its heart
+with home-sickness.
+
+So the next day, when Mr. Grant started off again on the engine, he took
+the bird with him. Watching very carefully for the place where the
+partridge had flown in, he found, at last, the exact spot. There he set
+the bird free, and away it flew, back to its peaceful home.
+
+                                                 DORA'S MAMMA.
+
+[Illustration]
+
+
+
+
+A LETTER FROM MINNESOTA.
+
+
+WHEN "The Nursery" came the other day to St. Paul, two little boys who
+live here, named Charley and John, found a story in it about a bear who
+used to walk in our streets. That story was true; and these little boys
+were so pleased with it, that they want me to write you about a new pet
+they have.
+
+[Illustration]
+
+It isn't a kitty with nice soft fur, nor a dog that will run and jump
+and play with them, nor a canary-bird to wake them up with his sweet
+songs; but it is a turtle, which the boys found trying to get across the
+street near their home.
+
+John, who is three years old, said, "I guess the poor little turtle is
+lost, and is trying to find his mamma again." So he picked him up, when
+away went his head, legs, and tail, all tucked under his shell. He
+looked like a box shut almost tight. When he was put in the water, out
+they came again.
+
+He spends the whole day trying to climb the sides of the smooth pan he
+is in, slipping back, and trying again. We put in a large shell to serve
+him for a house; and one day he climbed to the top of it, got out of his
+pan, and crawled over the carpet into the next room. So we had to take
+his house away.
+
+I think we shall have to name him Willie Winkie, because he opens and
+shuts his eyes so often and so quickly.
+
+Charley and John have the promise of a garden all to themselves when
+summer comes here. Perhaps by and by, we will tell the other children
+who read "The Nursery," how they get on with it, and what kinds of
+flowers they raise.
+
+                                                      C. R. S.
+  ST. PAUL, MINN.
+
+[Illustration]
+
+
+
+
+THE LAZY SHEPHERD.
+
+
+SOME years ago in Scotland, two boys, whose names were Henry Bright and
+John Yorner, were left orphans by the death of parents. Mr. Donald, a
+good man, who had nine or ten thousand sheep, and employed many
+shepherds, took both these boys into his employ.
+
+"Now, boys," said he, "a shepherd's life may be barren or fruitful, lazy
+or active, just as you choose to make it. In pleasant weather, while you
+are tending the sheep, if you have good dogs to help you, you can, if
+you choose, find leisure for reading and for study, and at the same
+time not neglect your proper duties.
+
+"If you want books, come to my house, and I will lend them to you. You
+have eight years to serve before you are twenty-one; and in that time
+you can fit yourselves for employments that will yield you much more
+than the work of a shepherd."
+
+Henry Bright first suited himself to a good dog, and taught him so well,
+that Plato--such was the dog's name--soon took almost the whole care of
+a hundred sheep that Henry had to look after. The lad would take a seat
+under the shelter of some rock, and read and study, while Plato would
+lie at his feet, or run round to see that no sheep or lamb was straying
+too far from the pasture-ground.
+
+But John Yorner was lazy, and did not care for books. He would not take
+the trouble even to teach a dog his duties. He would lie on a bank in
+the sun, with his hands clasped above his head, and there sleep away the
+long hours before dinner. Often his sheep would stray away and get lost;
+so that Mr. Donald once said to him, "I fear you are not fit even for a
+shepherd, John."
+
+You may easily guess what the result was at the end of eight years. John
+Yorner was a shepherd still: he had not been promoted to any better
+employment. He loved idleness too well. One must be diligent if he would
+be faithful and succeed.
+
+As for Henry, he applied himself to the study of arithmetic, and became
+so skilled in that branch of study, that, before he was nineteen, his
+services were wanted by a large mercantile house in Glasgow. There he
+made himself so useful, that his success became no longer a matter of
+doubt.
+
+Oh the days of youth, how precious they are! Do not be like the lazy
+shepherd, my little friends!
+
+                                                UNCLE CHARLES.
+
+
+
+
+SEVENTH LESSON IN ASTRONOMY.
+
+
+YOU all know that the sun comes to us in the morning, and goes away from
+us at night, and you say that it rises and sets. Does it rise and set in
+the same place?
+
+I know that is a foolish question to ask any child who lives with his
+eyes open. You all know, of course, that it rises opposite to where it
+went down the night before, and takes all day to cross the sky to its
+setting-place again. And you know it rises in the east, and sets in the
+west.
+
+But do you know that most of the stars, too, rise and set in this same
+way? Those of you who are old enough to be up when the stars are out can
+see for yourselves that this is so. You can see some stars rise, and
+some set, if there is nothing in your way, and you patiently watch; or
+you can pick out a particular star, and notice just where it is, and
+then, if you look for it later, you will see that it appears to have
+moved.
+
+All night long, and all day too, only we cannot see them in the
+sunlight, stars are rising, crossing the sky, and setting, the same
+stars coming up a little earlier each day. But there are some stars
+which neither rise nor set, and these I will tell you about some other
+time.
+
+Now, after all this that I have said about the rising and setting of the
+sun and stars, you will be surprised to learn that, so far as we can
+see, they never move at all. The planets--and our earth among them--move
+around the sun; but the sun stands still; and all the stars which are
+suns, shine always in the same place, and are hence called fixed stars.
+How, then, can they be said to rise and set?
+
+I will try to explain this in the next lesson. In the meantime you had
+better read again what I told you about the planets in the second
+lesson.
+
+                                                      M. E. R.
+
+
+
+
+HOW TO DRAW A PIG.
+
+
+[Illustration]
+
+          The Body of Piggy is shaped like a bean.
+          Except when he's poor and uncommonly lean.
+
+          Then give him an ear and a long handsome snout
+          For the last is so useful in rooting about.
+
+          Then a bright little eye he must have without fail
+          At the other end of him a small curly tail.
+
+          Then give him four feet and you have a whole pig
+          Who can run for his food be he little or big.
+
+[Illustration]
+
+
+
+
+A SIGHT OF THE OCEAN.
+
+
+"OH, what I would give for a sight of the ocean!" said Ruth Turner, as
+she sat one hot day in June in their little parlor, with her two sisters
+and their mother.
+
+"We must content ourselves in the city this summer," said Mrs. Turner.
+"What with the great fire, and the stagnation of trade, your father has
+lost so much money that we cannot afford to hire a cottage by the
+sea-side this year."
+
+"Well, we must try to make home pleasant," said little Anna, whose pale,
+pinched face showed that the pent air of the city had already begun to
+affect her health.
+
+"Let us all shut our eyes, and imagine ourselves on the beach," said
+Ellen, who was the poetess of the family.
+
+At that moment, the postman's knock at the door gave promise of a
+letter. Ruth ran to get it, and, returning in a moment, handed her
+mother a note, and said, "It is from that ugly, fat old Mr. Jenks, the
+grocer: his name is on the back. What can he want?"
+
+"Give me the letter, child," said Mrs. Turner; "and do not let me hear
+you speak of any fellow-being with contempt, because he is ugly, fat, or
+old. Mr. Jenks is all the time doing kind things. I am sorry to hear
+that his wife is ill."
+
+Mrs. Turner opened the letter, read it, and said, while her face
+flushed, "Hear this, Miss Ruth, you who were so quick to speak ill of
+Mr. Jenks:--
+
+"DEAR MRS. TURNER,--Wife and I have concluded to take the next steamer
+for England, not to be back till next October. You and your honest
+husband must at once go down with your family, and occupy my furnished
+cottage at Crescent Beach. Cellar and store-closet are well stocked with
+groceries. Use and consume every thing as if it were your own. Don't say
+_no_, but send me round word that you will do it. I don't like to leave
+the cottage empty."
+
+Ruth ran to a corner of the room, turned her face to the wall, and
+covered it with her hands.
+
+"Handsome is, that handsome does, Miss Ruth," cried little Anna.
+
+"Well, Ruth, shall we accept the invitation?" said her mother.
+
+"On one condition," said Ruth, turning round; "and that is, that you let
+me go and thank Mr. Jenks myself for his great kindness. He is not old;
+he is not ugly; and, if he is fat, so much the better."
+
+The good grocer's offer was gratefully accepted. The little girls now
+pass most of the summer days on the beach, where they pick up shells,
+and pretty white stones, or bathe in the salt ocean. Every morning
+brings fresh delights. Anna has rosy cheeks once more, and as for
+Ellen, she sits on the rocks, and sketches, or writes poetry, every day.
+
+Ruth has broken herself of the bad habit of speaking ill of persons
+because of their looks. She knows now that a man may be "old, fat, and
+ugly," and at the same time be full of love and kindness.
+
+                                                DORA BURNSIDE.
+
+[Illustration]
+
+
+
+
+RUTH'S WISHES.
+
+
+          "I'D like to be now
+          A bird on a bough,"
+          Said Ruth, one hot day
+          As she paused in her play:
+          "I'd like to be now
+          A bird on a bough.
+
+          "To be like a fish
+          In the sea is my wish,
+          Where the water is cool,
+          And they go to no school:
+          To be like a fish
+          In the sea is my wish.
+
+          "A squirrel I'd be
+          High up on a tree;
+          For he can go where
+          He gets plenty of air:
+          A squirrel I'd be
+          High up on a tree.
+
+          "A stag in a wood
+          I'd be, if I could:
+          He can lie on the ground
+          Where 'tis cool all around:
+          A stag in a wood
+          I'd be, if I could."
+
+          So wished, in her folly,
+          Ruth, holding her dolly;
+          The heat of the noon
+          Put her all out of tune:
+          So wished, in her folly,
+          Ruth, holding her dolly.
+
+                                                 EMILY CARTER.
+
+[Illustration]
+
+
+
+
+PHILIP'S NEW WHIP.
+
+
+NOW, what is all this noise about? The hens cackle and run about. The
+pig squeals. Over the fence flies the old gander, and after him flies
+the goose. Now, what can be the matter?
+
+I will tell you. It all comes from this: our little Philip has had a
+present of a new whip; and the first thing he does with it is to see how
+his friends in the barn-yard like it.
+
+He does not like to try it on the horse or on the cow; for the horse can
+kick, and the cow can hook with her horns. So, like a little coward, he
+frightens the hens, and the poor geese, and the pig, shut up in his pen.
+
+I do not think it right. We ought to protect the weak, and not try to
+scare or hurt them.
+
+                                                      A. B. C.
+
+[Illustration]
+
+
+
+
+THE THREE LITTLE LADIES.
+
+
+          NOW, who can find out
+          What these three little ones are about?
+          Very busy, you see,
+          They all seem to be;
+          But what they are doing,
+          What work or what pleasure pursuing,
+          Is more than my wisdom can tell:
+          And are not you puzzled as well?
+
+          One little lady is standing
+          On a cricket in posture commanding;
+          Another is pulling out pieces
+          From a drawer as fast as she pleases;
+          Another is bearing a roll--
+          But what for? It is all very droll.
+          And pray what is pussy about?
+          She joins in the frolic, no doubt.
+
+          These three little ladies, my dear,
+          Know what they're about: that is clear.
+          'Tis something important, you see,
+          Though a puzzle to you and to me;
+          For they each look as grave as a judge:
+          So, old folks, don't laugh, and cry, "Fudge!"
+          It may be that your own great affairs
+          Are not any more useful than theirs.
+
+                                                ALFRED SELWYN.
+
+
+
+
+GRANDMA'S STORY.
+
+
+I AM only five years old; but I have a great deal of trouble. Papa pulls
+my ears, and calls me a sad rogue; brother Tom asks me every night what
+new mischief I have been up to today; and poor mamma sighs, and says I
+am the most troublesome child she ever saw.
+
+But dear good grandma looks up from her knitting, and smiles as she
+says, "Tut, tut, daughter! Our Amy isn't any worse than a little girl I
+knew some thirty years ago."
+
+"O grandma!" cried I one day, "do please tell me about her; for I like
+to hear about naughty little girls. What was her name, grandma?"
+
+Grandma looked over her spectacles at mamma and smiled, and mamma nodded
+and smiled back. Then grandma said, "I think I will tell you of one of
+little Clara's capers; but mind, you are not to go and do the same thing
+the first chance you get."
+
+This is the story as grandmother told it,--
+
+          "Little Clara lived on a farm away out in the
+          country. She was the youngest of seven children,
+          and a great pet, of course. But Clara's little
+          restless feet and mischievous fingers often
+          brought her into trouble and disgrace.
+
+          "One day Clara's mother had occasion to go to the
+          store, which was three miles away. Clara wanted to
+          go too. Her mother feared she would be in the way,
+          and looked doubtful; but big brother Ben said,
+          'Let her go, mother. She'll be good, I know.'
+
+          "'Yes; let her go,' said Susan, who was trying to
+          net a bead purse, and keep Clara's fingers out of
+          her box of beads at the same time.
+
+[Illustration]
+
+"'Do let her go!' said Roger. 'I want to rig my ship this afternoon; and
+a fellow can't do much with her around.'
+
+          "So it was decided that Clara should go; and it
+          was the work of but a few moments to polish up the
+          chubby face and hands, and brush the curly hair.
+          The pink dress, red shoes, and white sun-bonnet,
+          were put on as quickly as possible, and Clara was
+          ready.
+
+          "'Now, do try to behave yourself, child,' said
+          Susan, as Ben lifted the little girl into the
+          wagon.
+
+          "'Of course I will,' replied Clara, pouting her
+          red lips.
+
+          "'But did she behave herself?' you ask. Ah! I will
+          tell you.
+
+          "When they reached the store, Mr. Dale, the
+          storekeeper, came out to assist them; and, as he
+          helped Clara out of the wagon, he called her 'a
+          little lady,' which made her feel all of two
+          inches taller than usual. Then he gave her a stick
+          of candy, and lifted her to a seat on the counter,
+          close beside a dear old pussy-cat, who purred
+          loudly as the little girl smoothed her fur.
+
+          "Clara's mother had a good many things to buy, and
+          very soon forgot all about her little daughter;
+          but when Ben came in, half an hour later, his
+          first question was, 'Where's Clara, mother?'
+
+          "Sure enough, where was Clara? Her seat was empty.
+          She had disappeared. 'Clara, Clara!' called both
+          her mother and Ben; but there was no answer.
+
+          "'She's in some mischief,' said Ben; and, as quick
+          as thought, he rushed into the back part of the
+          store, followed by his mother and Mr. Dale. What a
+          sight met their eyes! There stood Clara, in the
+          centre of the room, stepping back slowly, as a
+          pool of molasses, streaming steadily from a
+          hogshead in the corner, crept towards the toes of
+          her little red shoes. Ben caught up Clara as quick
+          as a flash, and----"
+
+"No, grandma," interrupted mamma, "it was Mr. Dale who did that, while
+Ben made haste to turn the faucet to prevent further mischief."
+
+"Why, mamma," said I, "how do you know? Were you there?"
+
+"I heard about it," said she; and she and grandma both smiled. "The
+little girl was just my age, and I knew her very well."
+
+"And your names were both Clara," said I. "How queer!"
+
+And mamma and grandma must have thought it queer, too; for they both
+laughed heartily.
+
+                                                      F. A. B.
+
+[Illustration]
+
+[Illustration]
+
+
+
+
+AUNT MATILDA.
+
+
+WHAT should we do in our house if it were not for our Aunt Matilda? She
+is the first one out of bed in the morning, and the last one to go to
+bed at night. She sees that things are right in the kitchen, and right
+in the parlor.
+
+Father wants his breakfast by half-past six o'clock this summer weather.
+Aunt Matilda rises before five, and calls the girls, and sees that the
+rooms are in order. Then she calls the children to be washed and
+dressed.
+
+Yes, that is a good likeness of her, as you see her combing my hair. She
+is not young, you perceive, nor yet very old. Sometimes I get a little
+impatient, and fidget, because she is so particular; but our quarrels
+always end in my kissing her, and saying, "You are a darling Aunty,
+after all."
+
+Mother is an invalid: so she cannot do much house-work, or see to the
+children. But Aunt Matilda is mother, aunt, and house-maid, all in one.
+Sometimes she even acts as stable-boy, and harnesses the horse to the
+carryall; for there are few things that Aunty does not know how to do,
+and to do well.
+
+Do we go to school? Yes, and no. Our only school is one that Aunt
+Matilda keeps for us in the library. She teaches us to read, to write,
+and to draw. She can play on the piano, and has begun to teach me music.
+Oh! What _should_ we all do without Aunt Matilda?
+
+                                                    MISS MAUD.
+
+
+
+
+ANNA'S BIRD.
+
+
+ANNA has a little bird, and she calls it Tot. You must try to find out
+from the picture what sort of a bird it is. It can sing and play; and it
+is so tame, that it will put its bill between Anna's lips when she says,
+"Kiss me, Tot."
+
+Her dog Fancy is quite fond of the bird, and will let it light on his
+head; and Anna is trying to make Muff, the cat, give up her habit of
+killing birds. But I hope that Anna will be careful, and not trust Muff
+too far.
+
+I have heard of a cat in a bird-shop, that was trained to take care of
+birds, instead of harming them; but this is a rare case. It is hard to
+keep a cat from catching birds, and from troubling the little young ones
+in their nests.
+
+Anna is so fond of Tot, that she will not let a cat come into the room
+where he is. Tot can whistle a tune. He likes to light on Anna's head,
+and will sometimes almost hide himself under her thick hair. She feeds
+him, and gives him a bath every day, and lets him fly about the room.
+
+[Illustration]
+
+If Tot were to fly out of the window, I think he would try to get back
+to his own little cage, so fond is he of Anna.
+
+                                                  ANNA'S AUNT.
+
+
+
+
+THE STORY OF THE SQUASHES.
+
+
+I KNOW of two little boys, twin-brothers, who are just five years old.
+They are so nearly alike that their best friends can scarcely tell them
+apart. Sturdy little men they are; so strong and fair and stout, that I
+should be glad to kiss them even when they have come from the dirtiest
+depths of their mud-pies. I fancy their mother sighs often over their
+torn pantaloons, their battered hats, and their soiled boots; but for
+all that, they _must_ play, and things will wear out.
+
+One day in the fall, their papa sent up to the house a farmer's wagon
+full of great beautiful squashes, to be put into the cellar for the
+winter's use. The farmer put the squashes on the ground close by the
+cellar-door ready for storage. But, when their papa came home, the
+squashes had disappeared, and he inquired who had put them into the
+cellar, and went down to see if they had been properly stored.
+
+But there were no squashes there. And he inquired again where they were;
+but no one knew. He called to the boys, who were playing horse on the
+sidewalk, to ask if they knew any thing of the squashes. Oh, yes! and
+they ran to the barn, he following; and where do you suppose the
+squashes were? In the pig-pen--every one of them!
+
+They had toiled and tugged, and carried every squash--and many of them
+were large--out there, and fed them to the pigs.
+
+The mischief done, who could scold those two bright, hard-working little
+men? I think their papa had to console himself with thinking if only
+they would work as well at something useful when they were grown up, he
+could forgive their rather wasteful business when they were little.
+
+                                                      C. D. B.
+
+
+
+
+CHARLIE'S COMPOSITION.
+
+
+CHARLIE was ten years old, and his teacher thought he should begin to
+write compositions. So she gave him a list of words, and told him to
+write a letter or story, and put them all in.
+
+The words were these: Begun, Write, Boy, Hook, Two, Black, Said, Basket,
+Knife, Chair, Eyes, Ground.
+
+Charlie went home; and, before he went out to play in the afternoon, his
+mother said, "You had better work a while on your composition."
+
+"Oh, I never can do it!" he said. "Mother, you try too, and see if you
+can write one." So she took his list and wrote this true story,--
+
+          "A little _boy_ with roguish _black eyes_ was
+          sitting on the floor, playing with some spools
+          that he had taken from his mother's work-_basket_,
+          which she had left in a _chair_. All at once he
+          saw a cow coming up the yard. He dropped every
+          thing, and ran to drive her out. She threw up her
+          head, and looked so fierce, that he was afraid she
+          would _hook_ him, and back he ran to the house.
+
+          "Then he spied a fruit-_knife_ on the _ground_,
+          where he had left it when he was eating an apple
+          in the morning. He picked it up, and carried it to
+          his mother, who had just _begun_ to _write_, and
+          she _said_, that, if he would keep still about
+          _two_ minutes, she would attend to him."
+
+"There," said mamma, "I have put in all the words: now you try,
+Charlie."
+
+Charlie then wrote:--
+
+          "I saw _two hooks_ and _eyes_ just as I had begun
+          to _write_. Johnny brought mother's _knife_, which
+          he found lying on the _ground_. He joggled
+          mother's _chair_, and she _said_, 'There's a
+          _black_ mark on my paper, and oh, dear! the _boy_
+          has tipped over my _basket_.' That's all."
+
+His mother read what Charlie had written, and said, "Pretty good for the
+first time;" and off he went to play.
+
+                                                      L. J. D.
+
+[Illustration: THE PEDLAR.]
+
+
+
+
+
+THE PEDLAR.
+
+                                               Music by T. CRAMPTON,
+                                                Chiswick, W. London.
+
+[Illustration: Music]
+
+          1. I wish I liv'd in a caravan
+          With a horse to drive like a pedlar-man,
+          Wherever he comes from nobody knows,
+          But merrily thro' the town he goes.
+
+          2. His caravan it is painted blue,
+          With a chimney small where the smoke comes thro';
+          And there is his wife with baby so brown,
+          And onward they go from town to town.
+
+          3. "Old chairs to mend, and new jugs to sell,"
+          How he makes the basins ring like a bell!
+          With baskets and tea-trays glossy and trim,
+          And plates with my name around the brim.
+
+          4. A pedlar-man I should like to roam,
+          And a book I'd write when I came back home;
+          And all the good folks would study my book,
+          And famous I'd be like Captain Cook.
+
+
+       *       *       *       *       *
+
+Transcriber's Notes:
+
+The July edition of the Nursery had a table of contents for the next six
+issues of the year. This table was divided to cover each specific issue.
+A title page copied from this same July edition was also used for this
+number and the issue number added after the Volume number.
+
+
+
+
+
+End of the Project Gutenberg EBook of The Nursery, September 1877, Vol. XXII, 
+No. 3, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, SEPTEMBER 1877 ***
+
+***** This file should be named 28137.txt or 28137.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/8/1/3/28137/
+
+Produced by Emmy, Juliet Sutherland and the Online
+Distributed Proofreading Team at http://www.pgdp.net. Music
+by Linda Cantoni.
+
+
+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, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation 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.
diff --git a/28137.zip b/28137.zip
new file mode 100644
index 0000000..d3d3b08
--- /dev/null
+++ b/28137.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..1f99950
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #28137 (https://www.gutenberg.org/ebooks/28137)