summaryrefslogtreecommitdiff
path: root/28139.txt
diff options
context:
space:
mode:
Diffstat (limited to '28139.txt')
-rw-r--r--28139.txt1394
1 files changed, 1394 insertions, 0 deletions
diff --git a/28139.txt b/28139.txt
new file mode 100644
index 0000000..1fd2922
--- /dev/null
+++ b/28139.txt
@@ -0,0 +1,1394 @@
+Project Gutenberg's The Nursery, November 1877, Vol. XXII. No. 5, 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, November 1877, Vol. XXII. No. 5
+ A Monthly Magazine for Youngest Readers
+
+Author: Various
+
+Release Date: February 20, 2009 [EBook #28139]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, NOVEMBER 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. 5.
+
+
+ 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
+ Sarah's Picture 131
+ Kitty Bell 134
+ A clever Fox 136
+ How Ponto got his Dinner 138
+ The Pet Pigeon 141
+ Eighth Lesson in Astronomy 143
+ Drawing-Lesson 145
+ The Farm 146
+ The Drawing-Master 148
+ Learning to iron 151
+ Birdie and Baby 153
+ Boys and Rabbits 156
+ Tobacco and Egg 158
+
+
+IN VERSE.
+
+ PAGE
+ Steering for Home 129
+ Three naughty Pigs 133
+ The Butterfly and the Grasshopper 139
+ Little Mosquito 150
+ A naughty Baby 154
+ The Apple Tree (_with music_) 160
+
+[Illustration: Birds]
+
+
+
+
+[Illustration: STEERING FOR HOME.]
+
+
+
+
+STEERING FOR HOME.
+
+
+ [Illustration: B]LOW, thou bitter northern gale;
+ Heave, thou rolling, foaming sea;
+ Bend the mast and fill the sail,
+ Let the gallant ship go free!
+ Steady, lad! Be firm and steady!
+ On the compass fix your eye;
+ Ever watchful, ever ready,
+ Let the rain and spray go by!
+ We're steering for home.
+
+ Let the waves with angry thud
+ Shake the ship from stem to stern;
+ We can brave the flying scud,
+ It may go, it may return:
+ In the wind are cheerful voices,
+ In the waves a pleasant song,
+ And the sailor's heart rejoices
+ As the good ship bounds along.
+ We're steering for home.
+
+ Standing on the briny deck,
+ Beaten by the blinding spray,
+ Fearing neither storm nor wreck,
+ Let us keep our onward way.
+ Loving hearts for us are yearning,
+ Now in hope, and now in doubt,
+ Looking for our swift returning,
+ How they try to make us out!
+ We're steering for home.
+
+ Fainter blows the bitter gale,
+ And more peaceful grows the sea;
+ Now, boys, trim again the sail;
+ Land is looming on the lee!
+ See! the beacon-light is flashing,
+ Hark! those shouts are from the shore;
+ To the wharf home friends are dashing;
+ Now our hardest work is o'er.
+ Three cheers for our home!
+
+ TOM BOWLING.
+
+
+
+
+SARAH'S PICTURE.
+
+
+MY name is Sarah. I live in Bristol, Conn., and am not quite five years
+old. I have taken "The Nursery" ever since I was two.
+
+About three years ago a lady gave me a little trunk, and I have kept my
+magazines in it ever since. Last winter, when snow was on the ground,
+and I had to stay in the house a good deal, I used to get my trunk and
+sit down on the floor by mamma, and look my "Nursery" through almost
+every day. So mamma thought she would like to have my picture taken just
+in that way.
+
+Now I must introduce you to my dog Beauty, who sits by my side in the
+picture. You see he is a Spitz; but do not be frightened: he will never
+have hydrophobia. I cannot think of having him muzzled, for one of his
+charms is the way he opens and shuts his mouth when he barks. Oh, no,
+Beauty! I will never hurt your feelings by making you wear a muzzle.
+
+My grandma gave me this dear dog a year ago last Christmas. He had two
+beautiful red eyes then; now he has none. He had two long silky ears
+then; now he has but one. He had four legs, and a bushy tail curled over
+his back; now he has but two legs, and no tail. But I love him just as
+well as ever.
+
+[Illustration]
+
+The dolly you see sitting up against the trunk is my daughter Nannie. I
+have four other children.
+
+Nellie is a fair-haired blonde, but is getting rather past her prime.
+You know blondes fade young.
+
+Rosa Grace once had lovely flaxen curls, and very rosy cheeks; but now
+her curls are few and far between, her cheeks are faded, and her arms
+and feet are out of order.
+
+Next comes Florence, who has joints, and can sit up like a lady
+anywhere. My papa brought her from San Francisco. She has yellow hair,
+and is dressed in crimson silk.
+
+My youngest is not yet named. She is quite small, has black hair and
+eyes, and is rather old-fashioned looking. If you can think of a name
+just right for her, I wish you would please let me know. It is so
+perplexing to name so many children!
+
+ SARAH H. BUCK.
+
+
+
+
+THREE NAUGHTY PIGS.
+
+
+ THREE naughty pigs,
+ All in one pen,
+ Drank up their milk
+ Left by the men.
+
+ Then all the three,
+ Fast as they could,
+ Dug their way out
+ To find something good.
+
+ Out in the garden
+ A maiden fair
+ Had set some flowers,
+ Of beauty rare.
+
+ Out in the garden
+ A merry boy
+ Had planted seeds,
+ With childish joy.
+
+ One naughty pig
+ Ran to the bed;
+ Soon lay the flowers
+ Drooping and dead.
+
+ Two naughty pigs
+ Dug up the seeds,
+ And left for the boy
+ Not even weeds.
+
+ Three naughty pigs
+ Back in the pen,
+ Never could do
+ Such digging again.
+
+ For in their noses
+ Something would hurt
+ Whenever they tried
+ To dig in the dirt.
+
+ F. L. T.
+
+[Illustration]
+
+
+
+
+KITTY BELL.
+
+
+ONCE there was a little girl named Alice, and she had an Uncle George
+whom she loved very dearly. One day, as Alice was looking out of the
+window, she saw her Uncle George coming into the yard with a covered
+basket in his hand.
+
+Alice ran to meet him, and, as she was kissing him in the hall, she
+heard a faint sound in the basket, and exclaimed, "O Uncle George! what
+have you brought me?"
+
+"Look into the basket and see," said her uncle.
+
+So Alice peeped in very carefully, and saw a little black kitten. The
+little girl was delighted, and fairly danced around her uncle as she
+said, "What a dear little kitten! Is it for me, Uncle George? Who sent
+it to me? Did you bring it from your house?"
+
+"Yes," said her uncle, "your Cousin Edith sent it to you; she thought
+you would like it."
+
+"Well," said Alice, "you must thank Edith a thousand times, and here is
+a kiss for you for bringing it to me; and I'm sure the poor little thing
+must be hungry: so I'll give it something to eat."
+
+She carried the kitten into the kitchen, and soon got from the cook a
+nice pan of milk. Her little brother Harry came running in to see the
+new kitten eat its dinner, and with him came the old family cat, Mouser,
+who rubbed and purred against Alice, as if he wanted her to pet him too.
+
+The next thing was to find a name, "pretty, and not too common," Alice
+said. While she was trying to think of one, she went up to her own
+little room, and searched among her ribbons for a piece to tie around
+the kitten's neck. She soon found one that was just the thing.
+
+In one of her drawers she found a tiny bell that somebody had given
+her, and thought it would be a good plan to hang that around kitty's
+neck by the ribbon. Kitty made no objection to being thus decorated, and
+a happy thought struck Alice; "Kitty Bell would be just the name for
+her!" and Kitty Bell it was.
+
+[Illustration]
+
+Kitty grew very fast; and one morning, after she had got to be a
+good-sized kitten, she came to Alice, and mewed quite piteously. Alice
+gave her some milk; but Kitty Bell was not hungry, and mewed still more.
+Alice could not think what was the matter.
+
+At last Kitty Bell gave her head a shake, and put one paw up to the
+ribbon on her neck, as if trying to pull it over her head. Alice untied
+the ribbon, and away ran Kitty Bell quite out of sight. In a short time
+she came back with a mouse in her mouth, which she laid at Alice's feet.
+
+Do you see what had been the trouble? The bell had frightened the mice
+away, so that Kitty Bell could not get near enough to catch them.
+
+ W.
+
+
+
+
+A CLEVER FOX.
+
+
+ON a summer day, a gentleman was lying under the shelter of some shrubs
+on the banks of the River Tweed, when he saw a large brood of ducks,
+which had been made to rise on the wing by the drifting of a fir-branch
+among them. After circling in the air for a little time, they again
+settled down on their feeding-ground.
+
+There was a pause for two or three minutes, and then the same thing took
+place again. A branch drifted down with the stream into the midst of the
+ducks, and made them take to flight once more. But when they found that
+the bough had drifted by, and done no harm, they flew down to the water
+as before.
+
+After four or five boughs had drifted by in this way, the ducks gave no
+heed to them, and hardly tried to fly out of their way on the stream,
+even when they were near to being touched.
+
+[Illustration]
+
+The gentleman who had been observing all this now watched for the cause
+of the drifting of the boughs. At length he saw, higher up the bank of
+the stream, a fox, which, having set the boughs adrift, was watching for
+the moment when the ducks should cease to be startled by them.
+
+This wise and clever fox at last seemed satisfied that the moment had
+come. So what did he do but take a larger branch of spruce-fir than any
+he had yet used, and, spreading himself down on it so as to be almost
+hidden from sight, set it adrift as he had done the others!
+
+The ducks, now having ceased to fear the boughs, hardly moved till the
+fox was in the midst of them, when, making rapid snaps right and left,
+he seized two fine young ducks as his prey, and floated forward in
+triumph on his raft. The ducks flew off in fright, and did not come
+back.
+
+That fox must have had a fine dinner that day, I think. The gentleman
+who saw the trick pitied the poor ducks, but could not help laughing at
+the fox's cunning.
+
+ UNCLE CHARLES.
+
+
+
+
+HOW PONTO GOT HIS DINNER.
+
+
+PONTO in his youth had been a very wise and active dog. Not only had he
+been brave at watching, but he had been taught to carry packages and
+notes for his master.
+
+But, as he grew old and feeble, he gradually got out of the way of doing
+such services, and spent his time mostly in sleeping, or in jogging
+about, without care.
+
+One day his mistress had told her husband, as he went to his business in
+the morning, to send around the carriage at ten o'clock. This he forgot
+to do; and when the hour came, and there was no carriage, the lady knew
+it would be necessary to remind her husband of his promise.
+
+But she had no one to send with a message. At last she chanced to
+remember that Ponto used to go on such errands, and, writing a note, she
+called him to her, and said,--
+
+"Here, Ponto, take this note to your master."
+
+Ponto took the note carefully in his mouth, but did not seem to know
+what he was expected to do with it.
+
+"Go, Ponto," she said; "take the note to your master."
+
+He trotted on a little way, paused, turned and hesitated, and then
+trotted a little farther. This he repeated several times, and at last,
+started off at a good gait.
+
+But wise old Ponto! Did he, after so much pondering, take the note to
+his master? Not a bit of it! He went straight to the butcher's, and
+presented the billet, wagging his tail at the same time, as much as to
+say, "Here's an order for my dinner!"
+
+The butcher, understanding the situation, rolled up a nice piece of meat
+in a paper, gave it to Ponto, and then himself delivered the note to the
+gentleman.
+
+Ponto stalked home as proud as a king, laid the package at his
+mistress's feet, and waited, with a delighted, expressive wag, for her
+approval.
+
+Of course she gave him all the meat, patted his faithful old head, and
+called him "good Ponto."
+
+The carriage came in good time; and Ponto does not know to this day but
+what he did exactly as he was told.
+
+ C. D. B.
+
+
+
+
+THE BUTTERFLY AND THE GRASSHOPPER.
+
+
+ "PRETTY Butterfly, stay!
+ Come down here and play,"
+ A Grasshopper said,
+ As he lifted his head.
+ "Oh, no! and oh, no!
+ Daddy Grasshopper, go!
+ Once you weren't so polite,
+ But said, 'Out of my sight,
+ You base, ugly fright!'"
+ "Oh, no! and oh, no!
+ I never said so,"
+ The Grasshopper cried:
+ "I'd sooner have died
+ Than been half so rude.
+ You misunderstood."
+ "Oh, no! I did not;
+ 'Twas near to this spot:
+ The offence, while I live,
+ I cannot forgive."
+ "I pray you explain
+ When and where such disdain,
+ Such conduct improper,
+ Was shown by this Hopper."
+ "I then was a worm:
+ 'Tis a fact, I affirm,"
+ The Butterfly said,
+ With a toss of her head.
+ "In my humble condition,
+ Your bad disposition
+ Made you spurn me as mean,
+ And not fit to be seen.
+ In my day of small things
+ You dreamed not that wings
+ Might one day be mine,--
+ Wings handsome and fine,
+ That help me soar up
+ To the rose's full cup,
+ And taste of each flower
+ In garden and bower.
+ This moral now take
+ For your own better sake:
+ Insult not the low;
+ Some day they may grow
+ To seem and to do
+ Much better than you.
+ Remember; and so,
+ Daddy Grasshopper, go!"
+
+ EMILY CARTER.
+
+[Illustration]
+
+[Illustration]
+
+
+
+
+THE PET PIGEON.
+
+
+WHEN I was about nine years old, my father and mother were living in a
+Southern city; and, as I had been very ill for a long time, I was taken
+from school, and permitted to do as I liked.
+
+In one of my walks I met an old colored woman, who took quite a fancy to
+me; and once, when I was sick at home, she came to see me, bringing as a
+present a young pigeon. Its feathers were not grown enough to show its
+color; but it proved to be brown and white.
+
+I was very much grieved when my mother said that she could not have a
+pigeon kept in the house; but my father persuaded her to indulge me till
+I was able to go out again; and then my pet gave so little trouble that
+nobody objected to him.
+
+For the first two or three weeks, he was put at night in another room;
+but I begged so hard that finally "Pidgy," as I called him, was allowed
+to roost on top of the wardrobe in my bed-room.
+
+The first time he saw me asleep, he seemed very much alarmed (so my
+mother told me); but he settled down on my shoulder, and kept very quiet
+till I awoke. This he always did after that morning, sometimes waiting
+more than two hours. After amusing myself with him till it was time to
+get up, I used to give him a large basin of water, into which he would
+jump with great delight; and he would be making his toilet while I was
+making mine.
+
+For two or three months I kept his wings clipped, so that he could not
+fly far. When I went out for a walk, I generally took him, either in my
+arms or perched on my hand; and thus I and my pet became known all over
+the neighborhood; and, when my little playmates invited me to visit
+them, an invitation was always sent for "Lillie and her pigeon."
+
+He followed me everywhere. If I was reading, he rested on my chair; if
+playing on the piano, he would listen attentively: indeed he acquired
+such a taste for music, that the only time he ever seemed willing to
+leave me was to perch upon the foot of a gentleman who was singing very
+finely.
+
+I taught him a number of tricks, such as bringing me any thing that he
+could carry, lying down very still till I told him to get up, and
+running over the piano-keys to make music for himself.
+
+During the two years that Pidgy and I enjoyed so much together, he never
+fed from any hand but mine; and once, when I staid from home over night,
+he would not eat at all, but pecked at my mother and sister so that they
+were quite provoked with him. On my return, he flew to meet me with an
+angry "coo," his feathers all ruffled up, as if trying to reprove me for
+my neglect.
+
+What finally became of my pet I never knew. I had him out on the porch,
+one day, and, as I ran into the house for a few minutes, the door was
+blown to, so that he could not follow me. A boy caught him up, and was
+seen running away with his prize. Every effort was made to find him; but
+I never saw my dear little pigeon again.
+
+ ANNE PAGE.
+
+
+
+
+EIGHTH LESSON IN ASTRONOMY.
+
+
+HOW shall I make such little folks understand that the sun and the stars
+really stand still, when they seem to take a journey across the sky
+every day? Perhaps the best way will be to make a little game of it. We
+will explain it with boys.
+
+I want a boy to represent the earth, and as many as can be found for sun
+and stars: there is no danger of too many. Now, the fattest boy of all
+must be the earth, and stand in the middle. We want him fat and round,
+because the earth is as round as an orange. (We need not mind about the
+size of the stars: they always look small, they are so far off.)
+
+All the other boys must stand about him, and stand still. If they are
+not satisfied with their places, they must not move; for they are fixed
+stars. That is right. I can imagine you now just as you are, the fat
+boy in the middle.
+
+But _you_ must not stand still, fat boy, because I told the star-boys
+not to move. You are the earth, and must do what the earth does. Don't
+you know what it does? Oh! it does not run away. Come back, and I will
+tell you what it does. It turns around just as a top spins. That is
+right. Every time the earth turns, it makes a day and a night, by
+turning towards the sun, and away from it again.
+
+Don't turn so fast, my dear: you make the days and nights too short, and
+you will be dizzy. Besides, you are turning the wrong way. The earth
+turns from west to east, and you must remember you are the earth, and
+not Charlie. Now go the other way, and more slowly, and keep your eyes
+on the little boys who are the sun and stars.
+
+We will suppose now that Frank is the sun. There he is just behind you.
+He is shining now on the other side of the earth,--on your back. As you
+turn around to the left, to the east, you begin to see him: he rises.
+Now, as you turn more towards him, he seems to pass in front of you
+towards the west, and pretty soon he is out of sight. He has set. So
+much for the sun.
+
+It is just the same if you look at the stars,--John, or Willie, or
+James. As you turn round they all seem to be going round you. Now can't
+you see, that, as the real earth turns around, the sun and stars about
+it seem to you to rise and set, although they stand still, like Frank
+and John and Willie and James.
+
+A great many years ago, everybody supposed that the earth stood still,
+and the sun and stars revolved around it; but a wise man named
+Copernicus found out the mistake, and you had better call your game the
+Copernican game.
+
+ M. E. R.
+
+[Illustration: DRAWING-LESSON BY HARRISON WEIR.
+
+VOL. XXII.--NO. 5.]
+
+
+
+
+THE FARM.
+
+
+VERY often in summer, after looking at the sky, and consulting the
+barometer, my father would say to me, "Tell John to bring around the
+horse and carryall, and we will all go out to the farm for the day."
+John had the horse harnessed in a little while, mother sent out a great
+basket of lunch, and in less than half an hour we were all off,--father,
+mother, Dick, and I.
+
+The farm was seven miles in the country, and the road leading to it was
+a fine one. There were some hills, to be sure; but, whenever we came to
+one, Dick and I used to climb out of the back-window, and hang on
+behind, fancying that we lightened the load by not being inside. We
+always enjoyed the ride very much.
+
+At the farm there was a pretty cottage, where the tenant Mr. Clark
+lived. We used to go in for a little while to see Mrs. Clark's babies,
+and then we started off in search of adventures. What fun we did have!
+Sometimes there would be great brush-heaps to burn, made of bushes and
+branches of trees that had been cleared off from the land. They made
+glorious bonfires.
+
+There was an old yellow horse on the farm, that used to run the
+wood-sawing machine. He was blind in one eye, but was the very gentlest
+horse in the world. Dick and I would both get on him at the same time,
+with only the halter to guide the horse, and go all over the farm.
+
+Now and then, in shaking himself to get rid of the flies, Bob (the
+horse) would shake us both off; but he always stopped at once when we
+met with such an accident, so that we could get on again. Once, when we
+were riding in this way, our horse stopped and refused to go on.
+
+On looking to see what was the matter, we saw a large black snake in
+the road just ahead of us. Being very reckless children, we slid off old
+Bob, found some heavy sticks, and attacked the snake. First Dick struck
+it, and, when it turned on him, I struck it; and so we pounded the
+snake, turn and turn about, until it was killed.
+
+[Illustration]
+
+Another thing that we enjoyed very much was to go down to the creek that
+ran through the farm, and put some ears of green corn in the water close
+by the edge. We would then keep very still, and watch the corn, and, as
+soon as we saw it move a little, we would give it a sudden slap out of
+the water, and would almost always succeed in landing one or two
+crawfish. We dug wells in the sand, which we would fill with water to
+put our crawfish in. Sometimes we would have a dozen or more.
+
+It would have been great fun to wade in the creek, but for one thing:
+there were sand-leeches in the water, and they would get between our
+toes, and bite so firmly into the flesh, that we could hardly get them
+off.
+
+A great event in the day was lunch, which we ate in picnic style on the
+ground near the spring. We were always so hungry, that the simplest food
+seemed delicious. I don't think we were ever very fond of bread and
+butter anywhere else. By night we were very tired, and generally went
+sound asleep on the way home.
+
+ A.
+
+
+
+
+THE DRAWING-MASTER.
+
+
+OUR Peter has opened a school for teaching drawing. At present he has
+only two pupils; but he hopes to have more. They pay him two pins a
+lesson; not a high price. I fear that Peter will not get rich very soon
+at that rate.
+
+[Illustration]
+
+But he is no miser. He loves to do good, and to teach to others all the
+good he knows. So he says to Tom and Harry, "This that I am drawing now
+is what we call a horizontal line; and this is a curved line. Do you
+know what a circle is, Tommy?"
+
+"A circle is something round, isn't it?" replies Tommy.
+
+"A circle," says Peter, drawing one on paper,--"a circle is a plane
+figure, bounded by a single curved line called its circumference, every
+part of which is equally distant from a point within it called the
+centre."
+
+"How can I remember all that stuff?" said Harry.
+
+"Stuff! Do you call it _stuff_, sir?" said Peter, snapping him twice on
+his closely-shorn head: "I will teach you not to call my definitions
+_stuff_."
+
+"What's a definition?" asked Tommy.
+
+"A definition," said Peter, "is what I say to you when I tell you what a
+thing means. If I ask you what _green_ is, and I tell you it's the color
+of fresh summer grass, I give you a definition."
+
+"School is out!" cried Harry. "Peter uses too many big words for us.
+Hallo! there's Bob, the butcher's dog. I'm going to have a frolic with
+him. Good-by, drawing-master!"
+
+And so the school was broken up. "Never did I see boys behave so in
+school-time," said the teacher.
+
+I hope his pupils will be more attentive the next time he tries to teach
+them how to draw.
+
+ UNCLE CHARLES.
+
+[Illustration]
+
+[Illustration]
+
+
+
+
+LITTLE MOSQUITO.
+
+
+ LITTLE Mosquito she sits on a sill,--
+ Whee, whee, whee!
+ And longs for the time when the people are still,
+ That she, in the darkness, may stab them at will,--
+ Whee, whee, whee!
+
+ She whets up her dagger, and looks at the moon,--
+ Whee, whee, whee!
+ She says to herself, "I'll begin pretty soon
+ To look for my victims, and sing them a tune,"--
+ Whee, whee, whee!
+
+ With a hum and a flutter, the way to prepare,--
+ Whee, whee, whee!
+ She rises and circles about in the air;
+ Then settles herself with a great deal of care,--
+ Whee, whee, whee!
+
+ But one,--more awake than he seeks to appear,--
+ Whee, whee, whee!
+ Slaps little Mosquito, alight on his ear,
+ And thus puts an end to her hopeful career,--
+ Whee, whee, whee!
+
+ FLETA F.
+
+[Illustration]
+
+
+
+
+LEARNING TO IRON.
+
+
+"NOW I've had my lesson in my 'Nursery Primer,'" said little
+five-year-old Ellen, "and I want to learn to iron clothes."
+
+"You are rather too young to be trusted with a flat-iron," said her
+mother: "you might burn your fingers."
+
+"I'll promise not to cry if I do," said Ellen. "Please let me go out and
+help Patience iron, mamma."
+
+Mamma at last gave her consent; and our picture of Ellen and Patience at
+work at the ironing-board gives about as good likenesses of the two as
+their reflections in a mirror could have given.
+
+Ellen saw how Patience used her flat-iron, and then used hers in the
+same way. She ironed a towel so well, that Patience praised her, and
+said she could not have done it better herself.
+
+But, as she was trying to put a flat-iron on the stove, Ellen burnt her
+fingers so as to make her hop. She did not cry; for she remembered her
+promise. Patience wet a cloth with cold water, and put it on the burn;
+then she remembered that common brown soap was the best thing for a
+burn, so she spread some soap on a cotton rag and put that on. Soon the
+pain was gone, and Ellen ran and told her mother what had happened.
+
+"You should not have tried to put the flat-iron on the stove," said her
+mother. "If your clothes had caught fire, you might have had a bad
+time."
+
+"Would my dress have blazed up?" asked Ellen.
+
+"I take care to dip your clothes in a weak solution of nitre before they
+are worn; for that prevents their blazing, even if they should catch
+fire," said mamma. "But you must not let that keep you from taking great
+care."
+
+"Next Tuesday may I take another lesson in ironing?" asked Ellen.
+
+"Yes: if you say your lessons well during the week, you shall not only
+learn to iron your clothes, but to wash them."
+
+"That will be fun!" cried Ellen, clapping her hands, and quite
+forgetting her burnt finger.
+
+ DORA BURNSIDE.
+
+[Illustration]
+
+
+
+
+BIRDIE AND BABY.
+
+
+BIRDIE is a canary-bird of pale gold color. Tiny as he is, he is quite
+old compared with baby.
+
+He was the sole pet of the house long before baby came into the world,
+and he did as much as any bird could to fill a baby's place.
+
+All the bright hours of the day, the door of his cage stood open. He
+would fly to Aunt Minnie's shoulder while she sat sewing, and sing his
+sweetest notes for her, or perch on her finger and take the bit of fresh
+lettuce she brought for him from the table.
+
+But after baby came--can you believe it?--this dear little birdie
+behaved just like a spoiled child. He rolled himself up into a soft
+yellow ball, and actually moped.
+
+Not a note would he sing. Aunt Minnie could not coax him with green leaf
+or seed. He would insist on making himself unhappy until baby was taken
+out for an airing. Then he would burst into song again, and seem to feel
+that he was in his old place,--the only treasure.
+
+It was a long time before the poor little bird found out that Aunt
+Minnie's heart was large enough to love him and her precious baby too.
+But he is learning it now, and likes to have baby held up to his cage.
+
+When Aunt Minnie lets him out into the room, he hops close by the baby;
+and baby laughs, and stretches out his dimpled hands to catch him; but
+he is wise enough to keep out of baby's way.
+
+Don't you think it is nice for Aunt Minnie to have such treasures?
+
+ E. P. B.
+
+
+
+
+A NAUGHTY BABY.
+
+
+ HE'S a very naughty baby,
+ For he will not shut his eyes
+ And go to sleep, though I have done
+ My best to hush his cries.
+ I've trotted him, I've patted him,
+ I've given him some food;
+ But nothing that I do for him
+ Will do him any good.
+
+ I've sung a little lullaby,
+ The one that mother sings;
+ One that to weary little ones,
+ Sweet slumber, always brings.
+ I've scolded him, I've shaken him,
+ All sorts of things I've tried;
+ But the naughty, noisy baby-man
+ Will not be pacified.
+
+ He screams so loud he frightens me;
+ He's getting worse and worse.
+ I do wish mother would come home,
+ Or get this boy a nurse.
+ I'll toss him up, I'll tumble him,
+ Play "creep-mouse," and "bo-peep,"
+ Perhaps if I can make him laugh,
+ The laugh will make him sleep.
+
+ You naughty, naughty baby,
+ How could you vex me so?
+ One would not think you ever cried,
+ To hear you laugh and crow!
+ Hush, hush! He's getting tired out:
+ Now very still I'll keep;
+ There's nothing like a hearty romp,
+ To put a child to sleep!
+
+ JOSEPHINE POLLARD.
+
+
+
+
+BOYS AND RABBITS.
+
+
+HERE are two little boys and two little rabbits, all down on the ground.
+
+The two boys are just the same age. They are twin brothers. Their names
+are Paul and John.
+
+The girl who stands near them is their sister Jane. She is quite a
+little girl, as you see; but she is full three years older than the
+boys: so she takes great care of them.
+
+You would laugh to see Paul and John try to lift their rabbits by the
+ears. The rabbits look most as large as the boys. But the boys are
+growing larger and stronger every day.
+
+[Illustration]
+
+ A. B. C.
+
+
+
+
+TOBACCO AND EGG.
+
+
+OUR house had a long back piazza, covered all over with grape-vines,
+with steps going down to the yard.
+
+[Illustration]
+
+I discovered that by standing on my tip-toes, half way up the steps, I
+could see into the next yard, where there grew such different flowers
+from ours, and where there often came a little girl of six or
+seven--about my own age--to gather bouquets.
+
+She did not see me at first: so, for many days, I quietly watched the
+stout little figure. During one of my observations, her mother called
+her, and such a name as she had! The call, as I heard it, was "Tobacco,
+my daughter!"
+
+I felt deeply for the girl who was afflicted by such a name. I
+determined to throw her the finest bunch of grapes on our vine by way of
+consolation.
+
+Some days after, when I was giving my large family of dolls an airing in
+the garden, I saw a small face staring at me just over the top of the
+fence. Being familiar with the position myself, I was not alarmed, but
+hastened to mount to the same level on my side, and offer some grapes.
+
+After a long stare on the part of both of us, I timidly broke the
+silence by asking, "What is your name?"
+
+"Rebecca," was the reply.
+
+"Why," I said, "I was pitying you all this time, thinking you were
+called Tobacco."
+
+"Oh, no!" she cried, "it is not so bad as that. You have a funny name,
+though. I have often wondered how you came to have such a name. Perhaps
+you were born on Easter-Monday, or were very fond of eggs."
+
+"What can you mean?" I replied. "I don't see any thing funny about my
+name: I am told it is pretty."
+
+"Well, I should not call it pretty exactly," she giggled: "it always
+makes me feel hungry."
+
+"Hungry?" I was trying to be friendly; but I did feel slightly offended
+at this. At last, just as tears of vexation were rising to my eyes, I
+thought of asking, "What do you think my name is?"
+
+"Why, Egg, of course."
+
+"Oh the idea of such a thing!" We both laughed till we nearly fell off
+our perches. As soon as I was sober enough, I made haste to explain that
+my name was Agnes, but that my brothers and sisters called me "Ag." It
+must have been "Ag" that she heard, and thought it was Egg.
+
+ AGNES.
+
+[Illustration: ANCIENT ARMOR.]
+
+[Illustration]
+
+
+
+
+THE APPLE TREE.
+
+
+ Words by CLARA D. BATES. Music by T. CRAMPTON.
+
+[Illustration: Music]
+
+ 1. Up in the apple tree,
+ See the rosy cheeks:
+ See the balls that look like gold:
+ See the crimson streaks.
+ In the lovely autumn day,
+ Bright as in the bloom of May,
+ Filled with fruit and fair to see,
+ Is the apple tree.
+
+ 2. Under the apple tree,
+ See the rosy cheeks:
+ Little Jinx the baby boy;
+ What is it he seeks?
+ Ah! his tiny teeth are white,
+ And are eager for a bite,--
+ Such a tempting store to see,
+ Is the apple tree.
+
+ 3. Under the apple tree,
+ Other rosy cheeks:
+ Edith, Mabel, Golden-Locks:
+ Full of merry freaks,
+ Here they run and there they run,
+ Shouting merrily if one
+ Fallen in the group they see,
+ From the apple tree.
+
+ * * * * *
+
+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.
+
+Page 150, single quotation mark changed to double (them a tune,")
+
+Page 159, double quotation mark added to text (fond of eggs.")
+
+
+
+
+
+End of the Project Gutenberg EBook of The Nursery, November 1877, Vol. XXII.
+No. 5, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE NURSERY, NOVEMBER 1877 ***
+
+***** This file should be named 28139.txt or 28139.zip *****
+This and all associated files of various formats will be found in:
+ http://www.gutenberg.org/2/8/1/3/28139/
+
+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.