diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-03-07 22:02:28 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-03-07 22:02:28 -0800 |
| commit | 7efccc0deee8a6f746dd92378b2bf28f8e1756df (patch) | |
| tree | dbfc90d892cb60d90397d395c937f9626ebc2940 /42763-h | |
| parent | dd56d547fbdbf40c9a8a62f7c2ad5ced4bc285e4 (diff) | |
Diffstat (limited to '42763-h')
| -rw-r--r-- | 42763-h/42763-h.htm | 534 |
1 files changed, 60 insertions, 474 deletions
diff --git a/42763-h/42763-h.htm b/42763-h/42763-h.htm index 57be454..a3092fa 100644 --- a/42763-h/42763-h.htm +++ b/42763-h/42763-h.htm @@ -4,7 +4,7 @@ <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-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Swords Reluctant, by Max Pemberton. @@ -212,46 +212,7 @@ div.tnote { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Swords Reluctant, by Max Pemberton - -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: Swords Reluctant - War and The Woman - -Author: Max Pemberton - -Release Date: May 22, 2013 [EBook #42763] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK SWORDS RELUCTANT *** - - - - -Produced by David Edwards, Ernest Schaal, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42763 ***</div> <div class="image-center" style="max-width: 467px;"> <img class="border" src="images/cover.jpg" width="467" height="700" alt="" /> @@ -304,7 +265,7 @@ Unless to see my shadow in the sun."</p> <p class="cnobmargin"><span class="smcap">to</span></p> <p class="cnomargins">ANDREW CARNEGIE</p> <p class="cnomargins"><span class="smcap">non exercitus</span></p> -<p class="cnomargins"><span class="smcap">neque thesauri præsidia regni sunt,</span></p> +<p class="cnomargins"><span class="smcap">neque thesauri præsidia regni sunt,</span></p> <p class="cnotmargin"><span class="smcap">verum amici</span></p> <hr class="hr2" /> @@ -451,7 +412,7 @@ with which this story is chiefly concerned.</p> <p class="indent">Gabrielle wore furs, which had been purchased in Quebec, and a hat which some upon the steamer had -thought a little <i>outré</i> for a parson's daughter. These +thought a little <i>outré</i> for a parson's daughter. These furs she had just laid upon her bed, and was busy unpinning her hat when her father knocked at the door and asked if he might come in. She thought @@ -963,7 +924,7 @@ no patience to hear it."</p> <p class="indent">"Then I certainly will not repeat it."</p> <p class="indent">A flush of anger coloured her cheeks, and her heart -began to beat fast. She was conscious of a rôle which +began to beat fast. She was conscious of a rôle which fitted her but ill, and was no reflection of herself. How much sooner would she have been downstairs among the well-dressed women who were beginning to flock @@ -1862,7 +1823,7 @@ round."</p> Picard and proud of his staccato knowledge. Faber listened with interest but said very little. He was trying, while they drove through the narrow streets -to Père la Chaise, to realise what this Paris had been +to Père la Chaise, to realise what this Paris had been when his father lived and worked in it during the fateful years before the war of 1870. The first John Faber also had been something of a republican; had @@ -1871,7 +1832,7 @@ of the proletariat. And the French had dragged him out and shot him for his pains. He had died protesting that he was an American citizen.</p> -<p class="indent">A big Mercédès car carried the pilgrims upon this +<p class="indent">A big Mercédès car carried the pilgrims upon this journey, and its welcome in the black streets of Belleville was not blandly enthusiastic. Blue blouses at the doors of the wine shops spat upon the pavement @@ -1902,7 +1863,7 @@ were the scenes of his youth.</p> the palace of the Tuileries," he said. "The women went out with naphtha; I saw them running like devils through the streets and crying to one another -to fire the houses. The day before that, the Hôtel de +to fire the houses. The day before that, the Hôtel de Ville flamed up. They say it was an accident, but—God knows. The 'Council of State,' the Bank, the Bourse, the Church of St. Eustache, all were burned @@ -1918,7 +1879,7 @@ their houses to see what the soldiers were doing! <span class="pagenum"><a name="page49" id="page49"></a>[pg 49]</span> Ladmirault, Galifet, Vinot, Cissey—those were the names of the generals. They held their courts under -the trees, in the cafés, at the street corners. It was +the trees, in the cafés, at the street corners. It was sufficient to have worn a blouse, to be sorry for the dead, to express displeasure at what was being done—away went such a man or woman to the nearest wall. @@ -1940,7 +1901,7 @@ Commune had been the first attempt in modern times to set up the socialism of Marx—and in what had it ended? In a deluge of blood, and the derision of all sane people. He wondered what would have been -the modern story of Paris if Félix Pyat and his fellows +the modern story of Paris if Félix Pyat and his fellows had been stronger than Thiers and the Versaillese. A consummate knowledge of modern politics reminded him that the blue blouses of France were still @@ -2026,7 +1987,7 @@ like to wash."</p> <p class="center">II</p> -<p class="indent">They lunched near the Bourse, in a flaring café +<p class="indent">They lunched near the Bourse, in a flaring café whither the jobbers resorted. There were a few conspicuous women of the company, loudly dressed and aggressive in the true spirit of their commercial patrons. @@ -2047,7 +2008,7 @@ backs turned. He thought of it with some pleasure over a <i>sole meringue</i>. They would have been down upon him like a pack of wolves had they known him.</p> -<p class="indent">Bertie Morris enjoyed his <i>déjeuner</i> with the satisfaction +<p class="indent">Bertie Morris enjoyed his <i>déjeuner</i> with the satisfaction of a man who knows he is not paying for it. He had a programme for the afternoon, which was to be capped by a dinner at the Ritz Hotel, also at @@ -2124,7 +2085,7 @@ going through here. Is that right?"</p> many more. Did they couple d'Arny to the talk?"</p> <p class="indent">"Well, it's chiefly up to him. He's a lot of backers -up against him in the Chambers. Jaurés says he's +up against him in the Chambers. Jaurés says he's corrupt."</p> <p class="indent">"He'd have to be in his job. We're all corrupt, @@ -2147,7 +2108,7 @@ Luxembourg.</p> <p class="indent">The day had fallen bitterly cold again, and a light snow whitened the trees in the famous avenues. Paris took a romantic mantle and covered her pretty shoulders -daintily. Habitués fled to the cafés and ensconced +daintily. Habitués fled to the cafés and ensconced themselves in warm corners; fur-clad women sank <span class="pagenum"><a name="page55" id="page55"></a>[pg 55]</span> deep in the cushions of their motors; there were ridiculously @@ -2341,7 +2302,7 @@ meet to-morrow.</p> <p class="indent">At the Ritz Hotel a few hours later, Bertie Morris studied a fine company with a critic's eye. He knew -most of the people in the famous <i>salle à manger</i>, and +most of the people in the famous <i>salle à manger</i>, and put himself up several pegs on the strength of his knowledge.</p> @@ -2478,7 +2439,7 @@ be coming out immediately."</p> <p class="indent">"Then you'll introduce me?"</p> -<p class="indent">"Ah! I didn't say that. Is it brandy or Kümmel?"</p> +<p class="indent">"Ah! I didn't say that. Is it brandy or Kümmel?"</p> <p class="indent">"Oh, brandy—if you've got to talk to women."</p> @@ -2646,7 +2607,7 @@ any journalistic tricks on me!"</p> <p class="indent">General d'Arny lived in an old house in the Boulevard St. Germain, one of the few monuments still -existing to the golden age of Récamier and the salons. +existing to the golden age of Récamier and the salons. He did not care a scudo for the literary and artistic associations of this gloomy mansion, but much for the fact that he paid little rent. Beaumarchais had lived @@ -2731,10 +2692,10 @@ friend she had would be in the church. One of the canons was to marry them, and afterwards there would be a great feast and many speeches in the old ballroom downstairs. At four in the afternoon, Justin's -motor-car was to take them to the old château, near +motor-car was to take them to the old château, near Rambouillet, where the first week was to be spent. She pictured the lonely drive over the whitened roads, -through the forests—then the château, grim, old and +through the forests—then the château, grim, old and moated. They would dine together—and then—then she would know what love was!</p> @@ -2761,7 +2722,7 @@ Strong scents perfumed the room and the odour of blossoms. Claudine went and stood before a long mirror of the wardrobe and studied herself in many attitudes. She did not know whether she was really -pretty. Justin, her fiancé, had paid her many compliments, +pretty. Justin, her fiancé, had paid her many compliments, and she tried to believe them. A greater source of encouragement was her figure—the fine rounded limbs, the pink and white of a young girl's skin. For @@ -2791,7 +2752,7 @@ window and counted the church bells chiming the hour.</p> <p class="indent">The afternoon of the same day had found General d'Arny closeted with John Faber in a little room in -the Avenue de l'Opéra. Here was the Paris agency +the Avenue de l'Opéra. Here was the Paris agency of the great Charleston Company, and hither came d'Arny at his own suggestion.</p> @@ -2806,7 +2767,7 @@ out a paper with quivering fingers.</p> <p class="indent">Faber watched him with half-closed eyes. He was thinking of another day, when this man, a mere captain -of the Chasseurs-à-Cheval then, had ridden down +of the Chasseurs-à -Cheval then, had ridden down the Rue de Fleurus and commanded his men to hunt out the Communards. Some forty years ago, and no doubt the soldier had forgotten every hour of it. @@ -2911,7 +2872,7 @@ may or may not have understood the nature of the trap into which he had fallen, but it was clear to him that John Faber could or would do little for him. He went out into the street to be offered a copy of <i>La -Guêpe</i>, and to hear the newsboy cry the latest news +Guêpe</i>, and to hear the newsboy cry the latest news of this surpassing jobbery.</p> <p class="indent">A less consummate artist than Faber would have @@ -3553,7 +3514,7 @@ booth in an Eastern bazaar. When he worked it was in the cool of the monastery gardens, the monks stealing <span class="pagenum"><a name="page93" id="page93"></a>[pg 93]</span> looks over his shoulder at wonderful forms in bewitching -<i>négligé</i>—or even at terpsichoreal advertisements +<i>négligé</i>—or even at terpsichoreal advertisements of pills and powder. For despite his sixty-two years, and the fact that he was a prince in his own country, Louis still earned his living by the advertisers, @@ -3588,7 +3549,7 @@ New York, in London, in Paris, in Berlin. Now she starved in Ragusa—except upon those splendid occasions when a cheque came from England. Then the <span class="pagenum"><a name="page94" id="page94"></a>[pg 94]</span> -Austrian banker would be fetched out of bed or café +Austrian banker would be fetched out of bed or café to cash it. They were rare days, for Louis would knock down the bottles like ninepins, and never turn a hair whatever their number. Maryska drank just @@ -3598,7 +3559,7 @@ draw another cork for him.</p> <p class="indent">Latterly, it had been the devil to pay at the Cantina. Louis had lived in prospective upon six disorderly -nymphs—all décolleté—who were to have proclaimed +nymphs—all décolleté—who were to have proclaimed the merits, <i>urbi et orbi</i>, of a new suspender for ladies of fashion. These drawings were quite wonderful. The prior of the monastery who no doubt, may have @@ -6148,7 +6109,7 @@ rather a hustler in his way? I heard him well spoken of when I was in Paris; they say he's an aeroplane on the road or in the air. Do you know of it?"</p> -<p class="indent">"Oh, there's some talk. He was with Blériot a +<p class="indent">"Oh, there's some talk. He was with Blériot a month or two back. The French army does not sleep much nowadays—a pretty wide-awake lot without any whiskers on their ideas. Issy-Ferrault is one of @@ -7947,7 +7908,7 @@ and pooh-poohed them. It was true that the rivers were frozen, but it was ridiculous to suppose that the severity of the frost would endure. As to the food-supply, what did it matter to men who could order a -sole à la Victoria or a <i>tournedo</i> without causing the +sole à la Victoria or a <i>tournedo</i> without causing the club steward to lift an eyelid? The frost was phenomenal, but it would in due course be followed by a thaw. Meanwhile, those d——d bakers were charging @@ -8069,7 +8030,7 @@ labourers took their leisure with their broad backs supported by friendly posts. Paradoxical as the thing seemed, the public-houses were beset by fierce mobs of ruffians, both sexes being fairly represented in the -mêlée. By here and there some anxious philanthropist +mêlée. By here and there some anxious philanthropist in a black coat moved amid the throngs, and spoke words of good cheer to all. There were ministers of religion whose faith knew nothing of new theology @@ -8361,8 +8322,8 @@ have a spree?"</p> <p class="indent">She thought upon it with a quick and serious glance aside.</p> -<p class="indent">"To a café!" she said at length. "Let us go and -eat bouillabaisse at a café! <i>He</i> always did when the +<p class="indent">"To a café!" she said at length. "Let us go and +eat bouillabaisse at a café! <i>He</i> always did when the drawing had tired him. Let us melt the old pot, and drink it—that's what he used to say!"</p> @@ -8461,7 +8422,7 @@ They were covered with flaring black headlines.</p> <p class="indent">Harry had engaged a taxi, and he took her for a drive round Hyde Park before going on to the Savoy -Café for luncheon. There were a few horsemen in the +Café for luncheon. There were a few horsemen in the Row, but they looked cold enough, and Maryska, who had seen the Italian cavalry ride, thought but little of their performance. For the most part, the big @@ -8538,7 +8499,7 @@ can't mean to take me there!"</p> <p class="indent">"Cheer up!" he said, squeezing her arm, "they cut very well," and so they drove into the courtyard, and seeing the actresses in weird furs at the door of the -café, Maryska leaped down from the taxi and laughed +café, Maryska leaped down from the taxi and laughed with pleasure.</p> <p class="indent">"I could kiss you if it were English," she said.</p> @@ -8550,7 +8511,7 @@ English, and so no more on that point was said.</p> <p class="center">II</p> -<p class="indent">Her idea was still a café chantant, and the Savoy +<p class="indent">Her idea was still a café chantant, and the Savoy met it badly.</p> <p class="indent">She had seen a number of well-dressed women in @@ -8602,7 +8563,7 @@ good boy. If you do not, I will go away."</p> <p class="indent">He did not wish her to go away, and he gave her the liqueur. When, at length, he escaped, she besought -him to take her to "the café chantant," and for very +him to take her to "the café chantant," and for very importunity they went over to the Coliseum. Here both the <i>Connaisseuse</i> and the child were in evidence. She called the echo of a tenor "a beast," was dreadfully @@ -8621,7 +8582,7 @@ hardly noticed it—but she persisted, and would be heard.</p> <p class="indent">"I used to dance for <i>him</i>, sometimes—after we had -been to the cafés together. He played the fiddle—oh, +been to the cafés together. He played the fiddle—oh, so badly!—and he said I was born to it. Why should <span class="pagenum"><a name="page228" id="page228"></a>[pg 228]</span> I not dance when those Silvester people are tired of @@ -8712,7 +8673,7 @@ had been done, Gabrielle said; it had been a day of triumphs, and they had been achieved by Rupert Trevelle in the face of great odds.</p> -<p class="indent">Harry looked at his fiancée while she was talking +<p class="indent">Harry looked at his fiancée while she was talking of her success, and he could not but realise that the recent days had changed her greatly. She had won dignity, he thought, and a new outlook upon life, @@ -8825,7 +8786,7 @@ she had given it to him.</p> <p class="indent">Louis de Paleologue had painted this in Paris, intending to sell it; but Maryska stole it when he was -at the café one day, and neither threats nor persuasion +at the café one day, and neither threats nor persuasion had robbed her of it subsequently. It showed her head and shoulders, a veil of gauze about her, and a Turkish cap upon her head. The note of it was the @@ -9949,7 +9910,7 @@ says his brains are better than his money, and when you come to think of it, I suppose that must always be the case. Even he, rich as he is, could do little for that poor artist, Louis de Paleologue, and now there -comes the news from Montey that Claudine's <i>fiancé</i> +comes the news from Montey that Claudine's <i>fiancé</i> has been terribly hurt at the aviation meeting there, and is hardly expected to live. So you see, dearest Gabrielle, his money seems to bring ill-luck to everyone; @@ -9966,7 +9927,7 @@ I don't know. We passed each other on the stairs of the hotel nearly every morning, and one day I dropped my bag, and he picked it up and spoke to me. I was frightened to ask anyone who he was, and I never -saw him in the <i>salle à manger</i>, but he used to pass +saw him in the <i>salle à manger</i>, but he used to pass me on the stairs—oh, quite six or seven times a day after that; and we had such a jolly time. Then, suddenly, he went away, never said a word to me or wrote @@ -10192,13 +10153,13 @@ about England at last, and that it was the arctic land of which her dead father had told her.</p> <p class="indent">"They come here in little ships," she said, "and -it is to find <i>le Pôle Nord</i>. There was a café of that +it is to find <i>le Pôle Nord</i>. There was a café of that name in Dijon, and once when we were very poor I danced there and got money for him. He beat me when he found it out, and that night I hated him, and went back to dance once more. That is what a girl should do when a man beats her! Ah! I shall -run away from you yet, <i>bête sauvage</i>."</p> +run away from you yet, <i>bête sauvage</i>."</p> <p class="indent">He laughed in a great boyish way, and drew her arm the tighter within his own. How good it seemed @@ -10315,7 +10276,7 @@ mistress—setting this or that in order instantly; tidying his desk; looking reproachfully upon his joyous negligence. When a lean landlady asked her genially if she would take a little tea, she answered immediately, -"No; you are to go to the café for the wine, +"No; you are to go to the café for the wine, Mr. Harry will give you the money!"</p> <p class="indent">And Harry gave it, as though it was the best of @@ -10330,14 +10291,14 @@ that others more intimate should be remembered!</p> She came almost every day during the final week of the tribulation, and would sit with him, smoking his cigarettes and drinking his claret as though his -house had been a café! He discovered that she had +house had been a café! He discovered that she had many talents, was a rare dancer of the wild, uncouth dances of the East, and could draw with a wonderful sense of portraiture. Her pictures of Silvester should have gone to <i>Punch</i>, but her portraits of Gabrielle were full of feeling. One day, when she had been sitting upon the arm of his chair, using his broad back -for an easel, she asked him, à propos nothing at all, +for an easel, she asked him, à propos nothing at all, if he were in love, and when he looked at her astonished she seemed insistent.</p> @@ -10617,7 +10578,7 @@ tried to tell as well as laughter and tears would permit.</p> to the church to see the organist. I ran out with all my money in my purse, and went round to Holly Place. She would not tell me where you were until -I frightened her—<i>Dieu de mon âme</i>, what a woman +I frightened her—<i>Dieu de mon âme</i>, what a woman she was! But I stamped my foot, and I said the things he used to say, and then she wrote it down for me. At the bottom of the wide hill I saw the @@ -10630,7 +10591,7 @@ took me to the <i>gare</i>. I did not know that you must go by the railway to Brighton, and he laughed when I asked him—but the <i>facteur</i> was there, and he said I was on time. So I came right along—and <i>ecco</i>, I -am here! Are you glad that is so, <i>bête sauvage</i>? Are +am here! Are you glad that is so, <i>bête sauvage</i>? Are you not pleased that I have come to you?"</p> <p class="indent">He had not an idea what to say to her. The world @@ -10659,7 +10620,7 @@ I shall do very well. It is there, and you can count it; the American is my friend, and he has given me money always. So, you see, I do not wish you to work for me; and when the money is all spent, I will go out -to the cafés and they will let me dance. Then we +to the cafés and they will let me dance. Then we shall do very well, you and I, Harry, but not in such an apartment as this. <i>Dio di mi alma!</i> was there ever so dreadful a lodging? And you have lived here @@ -10755,7 +10716,7 @@ man loved a woman, and beyond that was a knowledge of the world almost terrible in its savage conceptions of right and wrong.</p> -<p class="indent">"In my country," she said naïvely, "we go away +<p class="indent">"In my country," she said naïvely, "we go away <span class="pagenum"><a name="page289" id="page289"></a>[pg 289]</span> to the hills when we are in love, and no one thinks we have done wrong. I have seen dreadful things, @@ -10764,7 +10725,7 @@ there with my father. Oh! do not think I am the simple baby that you English like their wives to be. The world was very unkind to him and to me. Sometimes, for many days together we have slept at the -hotel of the Belle Étoile, and he would sell our clothes +hotel of the Belle Étoile, and he would sell our clothes for bread. Once, at Perpignan, we were put in prison, and I did not see him for a week. It was there he met a fellow-countryman who bought us from @@ -10773,17 +10734,17 @@ great people, but he would never ask anything of them, he was too proud. Some day, when you and I are rich, we will go to Bukharest and tell them who we are. Perhaps we will walk all the way, as he and -I did from Dijon to Nîmes, when the money was gone. +I did from Dijon to Nîmes, when the money was gone. Dear heart! what a walk it was, and all the acacias were blooming and the scent of the hay in the fields -and the white farms at night—and, yes, the old abbé +and the white farms at night—and, yes, the old abbé who was so gentle and good. He called me 'little daughter'—it was near Valence, and I know that if you and I had gone to him, he would have married us. Perhaps, if you cannot bribe the priest here, we will take the steamer and go now. Oh, how good it will be in the warm hay when the sun shines! And -we could get money at the cafés and perhaps in Bukharest; +we could get money at the cafés and perhaps in Bukharest; it would be true what he told me, and his friends would be a little kind. Will you not take me, Harry? Shall we not go to the sun together, away @@ -10821,7 +10782,7 @@ swear."</p> <p class="indent">She shook her head, and was but half satisfied. The kindly minister of the gospel stood to her for -an ogre who would make light of the Belle Étoile, +an ogre who would make light of the Belle Étoile, but much of that ancient office beginning with "Dearly beloved," and ending with the ecclesiastical blessing.</p> @@ -10844,7 +10805,7 @@ come upon humanity, the blessing of peace. The notoriety had fallen to the plodding minister after many years, and henceforth he had been up to his eyes in the papers, the pamphlets and other paraphernalia -of the pacific propaganda. The <i>réclame</i> of it all delighted +of the pacific propaganda. The <i>réclame</i> of it all delighted him. He became almost a hustler, and was at war with every whisper which deplored the ancient habit and the paths of ease.</p> @@ -10887,7 +10848,7 @@ five hundred a year. And she might have done so well! Some recollection of his old time ambition upon the steamer filled him with vain regrets now that John Faber had left England. The compensation was -a cheque for £5,000, to be employed to Maryska's +a cheque for £5,000, to be employed to Maryska's benefit until she should set out for New York. Meanwhile she was to remain at Hampstead to learn all that Silvester could teach her of the social amenities @@ -11153,7 +11114,7 @@ she said at length. "Show him the money and he will not turn us away. It is not necessary to show him too much at the commencement. Afterwards you can put more upon the table, and he will see it. That -is what my father did when his friend, the Abbé of +is what my father did when his friend, the Abbé of Dijon, wished that I should be confirmed. He wanted to paint a picture in the church there, and he said that it did not matter a damn one way or the other. So, @@ -11218,7 +11179,7 @@ will laugh in the sun together. Cannot it be to-day, Harry? Here is the sea, and there are the ships. Let us take one and sail away! We can think of the priest in France, where there are many who will be glad of -our money. Will you not please me, <i>sauvage bête</i>? +our money. Will you not please me, <i>sauvage bête</i>? Then take me upon the ship immediately."</p> <p class="indent">He could not answer it. The problem became more @@ -11760,7 +11721,7 @@ HARE, Jr.</span> $1.50.</p> <p><b>THE GUILTY MAN</b></p> <blockquote> -<p class="indent">A novel. By FRANCOIS COPPÉE. English Version by +<p class="indent">A novel. By FRANCOIS COPPÉE. English Version by RUTH HELEN DAVIS. 12mo, Cloth. Illustrations by CLARENCE ROWE. $1.50.</p> </blockquote> @@ -12081,382 +12042,7 @@ unless otherwise noted.</p> <p class="indent">On page 134, "could no nothing" was replaced with "could know nothing".</p> </div> - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Swords Reluctant, by Max Pemberton - -*** END OF THIS PROJECT GUTENBERG EBOOK SWORDS RELUCTANT *** - -***** This file should be named 42763-h.htm or 42763-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/2/7/6/42763/ - -Produced by David Edwards, Ernest Schaal, and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -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 - www.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 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-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 information page at www.gutenberg.org - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's 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 -contact links and up to date contact information can be found at the -Foundation's web site and official page at www.gutenberg.org/contact - -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 www.gutenberg.org/donate - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: www.gutenberg.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart was the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For forty 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: - - 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> - +<div>*** END OF THE PROJECT GUTENBERG EBOOK 42763 ***</div> </body> </html> |
