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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..ddd5014 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #65683 (https://www.gutenberg.org/ebooks/65683) diff --git a/old/65683-0.txt b/old/65683-0.txt deleted file mode 100644 index db5d02a..0000000 --- a/old/65683-0.txt +++ /dev/null @@ -1,619 +0,0 @@ -The Project Gutenberg eBook of “A Most Unholy Trade”, by Henry James - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: “A Most Unholy Trade” - Being Letters on the Drama by Henry James - -Author: Henry James - -Engraver: Waldo Murray - -Release Date: June 24, 2021 [eBook #65683] - -Language: English - -Produced by: Charlene Taylor, Donald Cummings and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK A MOST UNHOLY TRADE *** - - - - - - “A MOST UNHOLY TRADE” - - - - -[Illustration] - - - - - “A MOST UNHOLY TRADE” - BEING LETTERS ON THE - DRAMA BY HENRY JAMES - - - [Illustration] - - - THE SCARAB PRESS - PRIVATELY PRINTED - MCMXXIII - - - - - Copyright, 1923, by Dunster House - Bookshop, Cambridge, Massachusetts. - - - - -NOTE - - -The four letters here printed for the first time are part of Henry -James’s informal correspondence with William Heinemann, the publisher. -They are selected for their unity of subject, in that they concern -themselves with James’s impressions of Ibsen’s “Little Eyolf” and -contain some general remarks on the drama. Written about the time of -the publication of the first and second series of James’s Theatricals, -they indicate his ideas at the time when his consideration of the -subject was most intense. Acknowledgment is made to Mrs. J. Tucker -Murray and to Pierre de Chaignon la Rose, Esq., for permission to print -two of these letters. - - - - -“A MOST UNHOLY TRADE” - - - Wednesday - 34, De Vere Gardens. W. - -My dear Heinemann, - -I feel as if I couldn’t thank you enough for introducing me to Ibsen’s -prodigious little performance! I return it to you, by the same post -conscientiously after two breathless perusals,――which leave me with a -yearning as impatient, an appetite as hungry, for the rest, as poor -Rita’s yearning & appetite are for the missing caresses of her Alfred. -Do satisfy me better or more promptly than he satisfied her. The thing -is immensely characteristic & immensely――immense. I quite agree with -you that it takes hold as nothing else of his has as yet done――it -appeals with an immoderate intensity & goes straight as a dose of -castor oil! I hope to heaven the thing will reach the London stage: -there ought to be no difficulty, if Rita, when she offers herself, can -be restricted to a chair, instead of lying on her back on the sofa. -Let her _sit_, and the objection vanishes――I mean let her eschew the -sofa. Of course I don’t know what the rest brings forth――but this act -& a half are a pure――or an impure――perfection. If he really carries -on the whole play simply with these four people――& at the same high -pitch (it’s the _pitch_ that’s so magnificent!) it will be a feat more -extraordinary than any he’s achieved――it will beat “Ghosts.” Admirable, -gallant old man! The success of this would be high! I greatly enjoyed -our “lovely luxurious” (as Rita wd. say), _fin de soirée_, on Monday. -Tree is as dewily infantine as Eyolf! - - Yours truly, - Henry James - -P.S. _Do_ remember that I’m on the sofa, with my hair down――and pink -lamp shades! - - -[Illustration] - - - 34, De Vere Gardens, W. - November 22nd, 1894. - -My dear Heinemann, - -All thanks for your prompt and adequate relief――the last “go” at Act -II. It is a very great little affair. If Act III doesn’t drop, it will -be Ibsen’s crown of glory――I mean the whole thing will. It is a little -masterpiece. It seems to me that he doesn’t make quite enough――(in -form, in the pause to take it in, and the indication of the amazement -and emotion of Allmers)――of the revelation of the non-relationship; but -that is a detail, and the stroke itself――coming where it does――immense. -The thing must and _can_ be represented. This Act 2 is such a crescendo -on 1. that if 3 is an equal crescendo on 2, the fortune of the thing -will be made, and it will be a big fortune. I hope 3 is already on the -stocks of translation. It’s a fine case for the British manager’s fine -old demand for a “happy ending!” What I seem dimly to divine is that -the she-Eyolf goes the same way as the He! i. e. the way of the fiord. - -I don’t see what _complete_ tragedy there is for it _but_ that. But the -Devil knows what queer card the old Roué has up his sleeve!――Perhaps -Rita “has” the roadmaster publicly on the stage, while Asta throws -herself into the fiord. Yes, Eyolf No. 2 does by design what Eyolf No. 1 -did by accident――and does it conjointly _with_ Alfred (at the risk of -repeating Rosmersholm and Hedda and the Wild Duck), while Rita falls -upon Borgheim and the Rat wife returns leading in a wild dance of -rodents! That, at least, is the way it _should_ be. But come to my aid! -I was so full of it yesterday that, being near you, I popped in――tho’ I -had already written, but only missed you. - - Yours ever, - H. J. - - - - - Nov. 28th. 1894. - 34, De Vere Gardens. W. - -Dear Mr. Pawling, - -Many thanks for your missive of yesterday & the message from the -publisher-dramatist, whose friendly thought of sending me the play -I much appreciate. I have read it, and, having done so, feel that -such reflections as it may have engendered had better be imparted to -Heinemann directly. Therefore I will write to him by the time he shall -have returned from Manchester――& I will in returning him the sheets -also send back the 3d. act of Ibsen, which I ought already to have -restored & of which I spoke perhaps a little too despairingly on Sunday -night at Gosse’s. On reading it over more deliberately the next day, -I saw more its great intention of beauty. It is meagre & inconclusive, -I think; but none the less I can imagine that, played with some real -effort――& in a scenic Scandinavian twilight, it may have a certain fine -solemnity & poetry of effect. - - Yours very truly - Henry James - - -[Illustration] - - - 34, De Vere Gardens. W. - November 30th, 1894. - -My dear Heinemann, - -All thanks for the privilege of perusal――which I greatly appreciate. -I applaud the boldness with which you attack _de front_ all the -difficulties of the damnable little art, and which ought to bring you -all honour. It is refreshingly courageous of you, for example, to have -staked your fortune on a dramatis personae of 3, when you might, like -H.A. Jones, have sought safety in 30 or so. I think the idea of the -_First Step_ interesting――the situation of the girl who has become a -man’s mistress, but rises in arms at the idea that her sister should -do so――but I am not certain that it stands forth, as the _subject_, -with that big dotting of the big _i_, that the barbarous art of the -actable drama requires. In that art one must specify one’s subject as -unmistakeably as one orders one’s _di_nner――I mean leave the audience -no trouble to disengage or disentangle it. Forget not that you write -for the stupid――that is, that your maximum of refinement must meet -the minimum of intelligence of the audience――the intelligence, in -other words, of the biggest ass it may conceivably contain. It is a -most unholy trade! But you are very brave and gay and easy with it. -You have attempted a _tour de force_ in trying to carry on 2 acts -with only three people (I can think of no other case but Maupassant’s -_Paix du Ménage_――performed at the Français after his death by Bartet, -Le Bargy & Worms), and with only one question, as it were, to create -in the bosom of the spectator that principle of _suspense_ which is -the essence of the function of a theatrical action――the suspense as -to whether or no, and _how_, by what means or by what catastrophe, a -certain thing will happen or fail. The particular thing, in the _First -Step_, is the fate of the young sister’s chastity, the “question” -whether or no Annie shall lose her or save her. It is interesting but -I am not sure it _fills_ the play enough――and whether in your very -laudable desire to be unconventional and real you haven’t simplified -too much. However, this will show in the test――though I pity you for -the ordeal of interpretation. I can’t help wishing Annie were rather -worse herself, for the dramatic effect of the contrast between her -own life and character and her intensity about the other girl; in -other words, I think you have made her too good and the man she lives -with too bad. The situation would have had a fuller force if his -entanglement with the actress had been more _represented_――so that -(with the actress _introduced_) the action would have been closer and -the effect of the circumstances leading Frank to sacrifice the girl -more pictured, more dramatic. Excuse this preachment. I didn’t mean to -pick holes in your so serious and honourable attempt――but only to show -you with what care I have read it and how much it has made me reflect! - -I owe you also long-delayed thanks for the Ibsen――I mean Act III, which -I also return. It is a great――a very great _drop_; but it has distinct -beauty and it could, in representation, I think be made fine. - -All success to your own tragic Muse. She is evidently much in earnest -and she is altogether in the movement. Do take with her also, after -this, another turn. - - Yours ever, my dear Heinemann, - Henry James. - -P.S. I long to hear about Manchester. - - -[Illustration] - - - - -Of this, the first book printed by The Scarab Press, one hundred -copies are for sale at Dunster House, 26 Holyoke Street & Mt. Auburn, -Cambridge, Massachusetts. [Illustration] The frontispiece was engraved -on wood by Waldo Murray of Cambridge, after a drawing by John S. -Sargent inscribed to his friend Henry James and published in The Yellow -Book, 1894. [Illustration] The cover was designed by Waldo Murray and -also cut by him on linoleum. - -[Illustration] - - -Copy Number 35 - - - * * * * * - - - Transcriber’s Notes: - - ――Underlined text is enclosed by underscores (_underline_). - - ――Punctuation and spelling inaccuracies were silently corrected, except - when they occur in the four correspondence letters. - - -*** END OF THE PROJECT GUTENBERG EBOOK A MOST UNHOLY TRADE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: “A Most Unholy Trade”</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>Being Letters on the Drama by Henry James</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Henry James</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Engraver: Waldo Murray</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: June 24, 2021 [eBook #65683]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Donald Cummings and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK A MOST UNHOLY TRADE ***</div> - - -<div class="figcenter" id="cover"> - <img src="images/cover.jpg" alt="cover" title="cover" /> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<h1>“A MOST UNHOLY TRADE”</h1> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<div class="figcenter" id="i_frontis"> - <img src="images/i_frontis.jpg" alt="frontispiece" title="frontispiece" /> -</div> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="noi subtitle">“A MOST UNHOLY TRADE”<br /> -BEING LETTERS ON THE<br /> -DRAMA BY HENRY JAMES</p> -</div> - -<div class="pad4"> -<div class="logocenter" id="logo"> - <img src="images/logo.jpg" alt="logo" title="logo" /> -</div> -</div> - -<p class="noi author">THE SCARAB PRESS<br /> -PRIVATELY PRINTED<br /> -MCMXXIII</p> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p class="noic">Copyright, 1923, by Dunster House<br /> -Bookshop, Cambridge, Massachusetts.</p> -</div> - - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="NOTE">NOTE</h2> -</div> - - -<p>The four letters here printed for the -first time are part of Henry James’s informal -correspondence with William -Heinemann, the publisher. They are selected -for their unity of subject, in that -they concern themselves with James’s -impressions of Ibsen’s “Little Eyolf” -and contain some general remarks on -the drama. Written about the time of -the publication of the first and second -series of James’s Theatricals, they indicate -his ideas at the time when his -consideration of the subject was most -intense. Acknowledgment is made to -Mrs. J. Tucker Murray and to Pierre -de Chaignon la Rose, Esq., for permission -to print two of these letters.</p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - -<h2 class="nobreak" id="UNHOLY_TRADE">“A MOST UNHOLY TRADE”</h2> -</div> - - -<p class="right">Wednesday<br /> -34, De Vere Gardens. W.</p> - -<p class="noi">My dear Heinemann,</p> - -<p>I feel as if I couldn’t thank you -enough for introducing me to Ibsen’s -prodigious little performance! I return -it to you, by the same post conscientiously -after two breathless perusals,—which -leave me with a yearning as impatient, -an appetite as hungry, for the -rest, as poor Rita’s yearning & appetite -are for the missing caresses of her Alfred. -Do satisfy me better or more -promptly than he satisfied her. The -thing is immensely characteristic & immensely—immense. -I quite agree with -you that it takes hold as nothing else<span class="pagenum"><a id="Page_8"></a>[8]</span> -of his has as yet done—it appeals -with an immoderate intensity & goes -straight as a dose of castor oil! I hope -to heaven the thing will reach the London -stage: there ought to be no difficulty, -if Rita, when she offers herself, can -be restricted to a chair, instead of lying -on her back on the sofa. Let her <em>sit</em>, and -the objection vanishes—I mean let her -eschew the sofa. Of course I don’t know -what the rest brings forth—but this act -& a half are a pure—or an impure—perfection. -If he really carries on the -whole play simply with these four people—& -at the same high pitch (it’s the -<em>pitch</em> that’s so magnificent!) it will be a -feat more extraordinary than any he’s -achieved—it will beat “Ghosts.” Admirable, -gallant old man! The success -of this would be high! I greatly enjoyed<span class="pagenum"><a id="Page_9"></a>[9]</span> -our “lovely luxurious” (as Rita wd. say), -<i lang="fr" xml:lang="fr">fin de soirée</i>, on Monday. Tree is as -dewily infantine as Eyolf!</p> - -<p class="noic">Yours truly,</p> - -<p class="right">Henry James</p> - -<p class="noi">P.S. <em>Do</em> remember that I’m on the sofa, -with my hair down—and pink lamp -shades!</p> - -<div class="pad2"> -<div class="figcenter illowe2" id="i_pg009"> - <img src="images/i_pg009_013_019.jpg" alt="deco" title="deco" /> -</div> -</div> - -<p class="right">34, De Vere Gardens, W.<br /> -November 22nd, 1894.</p> - -<p class="noi">My dear Heinemann,</p> - -<p>All thanks for your prompt and -adequate relief—the last “go” at Act II. -It is a very great little affair. If Act III -doesn’t drop, it will be Ibsen’s crown of -glory—I mean the whole thing will. It<span class="pagenum"><a id="Page_10"></a>[10]</span> -is a little masterpiece. It seems to me -that he doesn’t make quite enough—(in -form, in the pause to take it in, and the -indication of the amazement and emotion -of Allmers)—of the revelation of -the non-relationship; but that is a detail, -and the stroke itself—coming where it -does—immense. The thing must and -<em>can</em> be represented. This Act 2 is such -a crescendo on 1. that if 3 is an equal -crescendo on 2, the fortune of the thing -will be made, and it will be a big fortune. -I hope 3 is already on the stocks -of translation. It’s a fine case for the -British manager’s fine old demand for -a “happy ending!” What I seem dimly -to divine is that the she-Eyolf goes the -same way as the He! i. e. the way of -the fiord.</p> - -<p>I don’t see what <em>complete</em> tragedy<span class="pagenum"><a id="Page_11"></a>[11]</span> -there is for it <em>but</em> that. But the Devil -knows what queer card the old Roué -has up his sleeve!—Perhaps Rita “has” -the roadmaster publicly on the stage, -while Asta throws herself into the fiord. -Yes, Eyolf No. 2 does by design what -Eyolf No. 1 did by accident—and does -it conjointly <em>with</em> Alfred (at the risk of -repeating Rosmersholm and Hedda and -the Wild Duck), while Rita falls upon -Borgheim and the Rat wife returns -leading in a wild dance of rodents! -That, at least, is the way it <em>should</em> be. -But come to my aid! I was so full of it -yesterday that, being near you, I popped -in—tho’ I had already written, but only -missed you.</p> - -<p class="noic">Yours ever,</p> - -<p class="right">H. J.</p> - -<p class="p4"><span class="pagenum"><a id="Page_12"></a>[12]</span></p> - - -<p class="right">Nov. 28th. 1894.<br /> -34, De Vere Gardens. W.</p> - -<p class="noi">Dear Mr. Pawling,</p> - -<p>Many thanks for your missive of -yesterday & the message from the publisher-dramatist, -whose friendly thought -of sending me the play I much appreciate. -I have read it, and, having done -so, feel that such reflections as it may -have engendered had better be imparted -to Heinemann directly. Therefore I will -write to him by the time he shall have -returned from Manchester—& I will in -returning him the sheets also send back -the 3d. act of Ibsen, which I ought already -to have restored & of which I -spoke perhaps a little too despairingly -on Sunday night at Gosse’s. On reading -it over more deliberately the next<span class="pagenum"><a id="Page_13"></a>[13]</span> -day, I saw more its great intention of -beauty. It is meagre & inconclusive, I -think; but none the less I can imagine -that, played with some real effort—& -in a scenic Scandinavian twilight, it may -have a certain fine solemnity & poetry -of effect.</p> - -<p class="noic">Yours very truly</p> - -<p class="right">Henry James</p> - -<div class="pad2"> -<div class="figcenter illowe2" id="i_pg013"> - <img src="images/i_pg009_013_019.jpg" alt="deco" title="deco" /> -</div> -</div> - -<p class="right">34, De Vere Gardens. W.<br /> -November 30th, 1894.</p> - -<p class="noi">My dear Heinemann,</p> - -<p>All thanks for the privilege of -perusal—which I greatly appreciate. I -applaud the boldness with which you<span class="pagenum"><a id="Page_14"></a>[14]</span> -attack <i lang="fr" xml:lang="fr">de front</i> all the difficulties of the -damnable little art, and which ought to -bring you all honour. It is refreshingly -courageous of you, for example, to have -staked your fortune on a dramatis personae -of 3, when you might, like H.A. -Jones, have sought safety in 30 or so. I -think the idea of the <i>First Step</i> interesting—the -situation of the girl who has -become a man’s mistress, but rises in -arms at the idea that her sister should -do so—but I am not certain that it -stands forth, as the <em>subject</em>, with that big -dotting of the big <em>i</em>, that the barbarous -art of the actable drama requires. In -that art one must specify one’s subject -as unmistakeably as one orders one’s -<em>di</em>nner—I mean leave the audience -no trouble to disengage or disentangle -it. Forget not that you write for the<span class="pagenum"><a id="Page_15"></a>[15]</span> -stupid—that is, that your maximum of -refinement must meet the minimum of -intelligence of the audience—the intelligence, -in other words, of the biggest -ass it may conceivably contain. It is a -most unholy trade! But you are very -brave and gay and easy with it. You -have attempted a <i lang="fr" xml:lang="fr">tour de force</i> in trying -to carry on 2 acts with only three -people (I can think of no other case -but Maupassant’s <cite>Paix du Ménage</cite>—performed -at the Français after his death -by Bartet, Le Bargy & Worms), and -with only one question, as it were, to -create in the bosom of the spectator -that principle of <em>suspense</em> which is the -essence of the function of a theatrical -action—the suspense as to whether or -no, and <em>how</em>, by what means or by -what catastrophe, a certain thing will<span class="pagenum"><a id="Page_16"></a>[16]</span> -happen or fail. The particular thing, in -the <i>First Step</i>, is the fate of the young -sister’s chastity, the “question” whether -or no Annie shall lose her or save her. -It is interesting but I am not sure it <em>fills</em> -the play enough—and whether in your -very laudable desire to be unconventional -and real you haven’t simplified -too much. However, this will show in -the test—though I pity you for the ordeal -of interpretation. I can’t help wishing -Annie were rather worse herself, for -the dramatic effect of the contrast between -her own life and character and -her intensity about the other girl; in -other words, I think you have made -her too good and the man she lives -with too bad. The situation would have -had a fuller force if his entanglement<span class="pagenum"><a id="Page_17"></a>[17]</span> -with the actress had been more <em>represented</em>—so -that (with the actress <em>introduced</em>) -the action would have been -closer and the effect of the circumstances -leading Frank to sacrifice the -girl more pictured, more dramatic. Excuse -this preachment. I didn’t mean to -pick holes in your so serious and honourable -attempt—but only to show you -with what care I have read it and how -much it has made me reflect!</p> - -<p>I owe you also long-delayed thanks -for the Ibsen—I mean Act III, which -I also return. It is a great—a very -great <em>drop</em>; but it has distinct beauty -and it could, in representation, I think -be made fine.</p> - -<p>All success to your own tragic Muse. -She is evidently much in earnest and<span class="pagenum"><a id="Page_18"></a>[18]</span> -she is altogether in the movement. Do -take with her also, after this, another -turn.</p> - -<p class="noic">Yours ever, my dear Heinemann,</p> - -<p class="right">Henry James.</p> - -<p class="noi">P.S. I long to hear about Manchester.</p> - -<div class="p4"> -<div class="figcenter illowe6" id="i_pg018"> - <img src="images/i_pg018.jpg" alt="deco" title="deco" /> -</div> -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p>Of this, the first book printed by The -Scarab Press, one hundred copies are -for sale at Dunster House, 26 Holyoke -Street & Mt. Auburn, Cambridge, Massachusetts. -<span id="i_pg019a"> - <img src="images/i_pg019sm.jpg" alt="deco" title="deco" /> -</span> The frontispiece was engraved -on wood by Waldo Murray of -Cambridge, after a drawing by John S. -Sargent inscribed to his friend Henry -James and published in The Yellow -Book, 1894. <span id="i_pg019b"> - <img src="images/i_pg019sm.jpg" alt="deco" title="deco" /> -</span> The cover was -designed by Waldo Murray -and also cut by him -on linoleum.</p> - -<div class="figcenter illowe1" id="i_pg019"> - <img src="images/i_pg009_013_019.jpg" alt="deco" title="deco" /> -</div> - -<p class="p4 noic">Copy Number 35</p> -</div> - - - - -<hr class="chap" /> -<div class="tnote"> -<p class="noi tntitle">Transcriber’s Notes:</p> - -<p class="smfont">Underlined (emphasized) text is italicized to avoid confusion with - modern underlining usage for links.</p> - -<p class="smfont">Punctuation and spelling inaccuracies were silently corrected, except - when they occur in the four correspondence letters.</p> -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK A MOST UNHOLY TRADE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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