The Project Gutenberg EBook of The Mirror of Literature, Amusement, and
Instruction, No. 484, 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 Mirror of Literature, Amusement, and Instruction, No. 484
       Vol. 17, No. 484, Saturday, April 9, 1831

Author: Various

Release Date: June 28, 2004 [EBook #12766]

Language: English

Character set encoding: ISO-8859-1

*** START OF THIS PROJECT GUTENBERG EBOOK MIRROR OF LITERATURE ***




Produced by Jonathan Ingram, Barbara Tozier and PG Distributed
Proofreaders

THE MIRROR
OF
LITERATURE, AMUSEMENT, AND INSTRUCTION.

CORFE CASTLE.

CORFE CASTLE.

The annexed Engravings are an interesting page in the early history of our country, and deserve all the space we have appropriated to them. Their political notoriety, of much less interesting character, we leave to be set down, said, sung, or set aside, elsewhere.

Corfe Castle nearly adjoins a town of the same name: both are situate in the Isle of Purbeck; and their histories are so incorporated, that we shall not attempt their separation.

The town, according to the Beauties of England and Wales, vol. iv. p. 386, is nearly in the centre of the Isle, at the foot of a range of hills, on a rising ground, declining to the east. Its origin must undoubtedly be attributed to the Castle, which existed previous to the year 980; though the town itself does not appear to have attained any importance till after the Conquest, as it was wholly unnoticed in the Domesday Book. The Manor and Castle seem always to have descended together, and were often granted to princes of the blood, and the favourites of our kings, yet as often reverted to the Crown by attainder or forfeiture. In the reign of Richard the Second, they were held by Thomas Holland, Earl of Kent, jointly with Alicia, his wife. In the reign of Henry the Fourth, they were granted to the Beauforts, Earls of Somerset; but were taken from that family by Edward the Fourth, who bestowed them successively on Richard, Duke of York, and George, Duke of Clarence; on the attainder of the latter, they reverted to the Crown. Henry the Seventh granted them to his mother, the Countess of Richmond, for life. In the 27th of his successor, Henry the Eighth, an act of parliament was passed, by which they were given to Henry, Duke of Richmond, his natural son. After his death they reverted to the Crown, and were, by Edward the Sixth, bestowed on the Duke of Somerset; whose zeal for the Reformation was undoubtedly invigorated by the numerous grants of abbey lands made to him after the suppression of the monasteries. On the duke’s attainder, the demesne lands of the Castle were leased for twenty-one years, on a fee-farm rent of 7l. 13s. 4d. In the 14th of Elizabeth, the Castle and Manor, with the whole Isle of Purbeck, were granted to Sir Christopher Hatton, whose heirs continued possessors till the commencement of the 17th century, when the Manor and Castle were given by Sir William Hatton to his lady, Elizabeth, daughter of Thomas, Earl of Exeter, and afterwards second wife to Lord Chief Justice Coke, who sold them, in the year 1635, to Sir John Bankes, Attorney-General to Charles the First, and afterwards Lord Chief Justice of the King’s Bench. His descendant, Henry Bankes, Esq. and representative for this borough, is the present owner.

Though this is an ancient borough by prescription, it was not incorporated till the 18th of Queen Elizabeth, when a charter was obtained by Sir Christopher Hatton, by which the inhabitants were invested with the same liberties as those of the Cinque Ports; besides being favoured with various other privileges. This charter was afterwards confirmed by James the First and Charles the Second. The government of the town is vested in a mayor and eight barons—the barons are those who have borne the office of mayor. The first return to, parliament was made in the 14th of Elizabeth. The right of election is possessed by all persons within the borough who are “seized in fee, in possession, or reversion, of any messuage, or tenement, or corporal hereditament; and in such as are tenants for life, or lives; and in want of such freehold, in tenants for years, determinable on any life, or lives, paying scot and lot.”¹ The number of voters is between forty and fifty.

Corfe Castle “stands a little north of the town, opposite to the church, on a very steep rocky hill, mingled with hard rubble chalk stone, in the opening of those ranges of hills that inclose the east part of the Isle. Its situation between the ends of those hills deprives it much of its natural and artificial strength, being so commanded by them, that they overlook the tops of the highest towers; yet its structure is so strong, the ascent of the hill on all sides but the south so steep, and the walls so massy and thick, that it must have been one of the most impregnable fortresses in the kingdom before the invention of artillery. It was of great importance in respect to its command over the whole Isle: whence, our Saxon ancestors justly styled it Corf Gate, as being the pass and avenue into the best part of the Isle.”

The Castle is separated from the town by a strong bridge of four very high, narrow, semi-circular arches, crossing a moat of considerable depth, but now dry. This bridge leads to the gate of the first ward, which remains pretty entire, probably from the thickness of the walls, which, from the outward to the inner facing, is full nine yards. The ruins of the entrance to the second ward, and of the tower near it, are very remarkable.[pg 243] “The latter (which once adjoined to the gate) was separated with a part of the arch at the time of the demolition of the Castle, and is moved down the precipice, preserving its perpendicularity, and projecting almost five feet below the corresponding part. Another of the towers on the same side is, on the contrary, inclined so much, that a spectator will tremble when passing under it. The singular position of these towers seems to have been occasioned through the foundations being undermined (for blowing them up) in an incomplete manner. On the higher part of the hill stands the keep, or citadel, which is at some distance from the centre of the fortress, and commands a view of boundless extent, to the north and west. It has not hitherto suffered much diminution from its original height; the fury of the winds being resisted less by the thickness of the walls than by the strength of the cement. The upper windows have Saxon arches, but are apparently of a later date than any other part of the building west of the keep, the stones of which being placed herring-bone fashion prove it to be of the earliest style. The Chapel is of a very late date, as appears from its obtuse Gothic arches; and I have really an idea that almost all the changes of architecture, from the reign of Edgar to that of Henry the Seventh, may be traced in this extensive and stupendous ruin.

“We could not view without horror the dungeons which remain in some of the towers: they recalled to our memory the truly diabolical cruelty of King John, by whose order twenty-two prisoners, confined in them were starved to death. Matthew of Paris, the historian, says, that many of those unfortunate men were among the first of the Poitevin nobility. Another instance of John’s barbarous disposition was his treatment of Peter of Pontefract, a poor hermit, who was imprisoned in Corfe Castle for prophesying the deposition of that prince. Though the prophecy was in some measure fulfilled by the surrender which John made of his crown to the Pope’s Legate, the year following, yet the imprudent prophet was sentenced to be dragged through the streets of Wareham, tied to horses’ tails.”²

The exact period when this fortress was erected is unknown; though some circumstances render it probable that it was built by King Edgar. That it did not exist previously to the year 887, or 888, the time when the Nunnery at Shaftesbury was founded, is certain, from an inquisition taken in the fifty-fourth of Henry the Third; wherein the jurors returned, “that the Abbess and Nuns at Shaston (Shaftesbury) had without molestation, before the foundation of the Castle at Corfe, all wrecks within their manor of Kingston, in the Isle of Purbeck.” Mr. Aubrey, in his Monumenta Britannica, observes, he was informed, “that mention was made of Corfe Castle in the reign of King Alfred; yet it seems very improbable that this should be the fact; for if it had actually existed in the time of that monarch, it would surely have been more publicly known. The short reigns that succeeded would not allow time for so extensive an undertaking; but Edgar enjoyed more peace than almost any of his predecessors, was superior in wealth and power, and a great builder; he having founded, or repaired, no fewer than forty-seven monasteries.” To him, then, the origin of this castle may with the greatest probability be ascribed, as his second wife, Elfrida, resided here at the commencement of her widowhood. During this residence was committed the foul murder on King Edward, Edgar’s son and successor, of which William of Malmesbury relates the ensuing particulars.

“King Edward being hunting in a forest neare the sea, upon the south-east coast of the countie of Dorset, and in the Isle of Purbecke, came neare unto a fair and stronge castell, seated on a little river called Corfe, wherein his mother-in-law, Elfrida, with her sonne Ethelred, then lived: the King, ever beareing a kinde affection to them, beeing soe neare, would needs make knowne soe much by his personall visitation; which haveing resolved, and beeing either of purpose or by chance, singled from his followers, hee rode to the Castell gate. The Queene, who long had looked for an opportunitie, that, by makeing him awaye, shee might make waye for her own sonne to the Crowne, was glad the occasion nowe offered itselfe; and therefore, with a modest and humble behaviour, she bade him welcome, desireing to enjoye his presence that night. But hee, haveing performed what hee purposed, and doubting his companie might find him misseing, tolde her, that he now intended on horseback to drink to her and his brother in a cuppe of wine, and soe leave her; which beeing presented unto him, the cuppe was no sooner at his mouth, but a knife was at his back, which a servant, appointed by this treacherous woman, stroke into him. The [pg 244]Kinge, finding himselfe hurt, sett spurs to his horse, thinking to recover his companie; but the wounde beeing deepe, and fainting through the losse of much blood, he felle from his horse, which dragged him by one foot hanging in the stirrop, untill he was left dead at Corfe gate, Anno Dom. 979.”

Thus far Malmesbury: Hutchins, in his History of Dorset, relates the circumstances of this event in the following words:—

“The first mention of this Castle in our histories, is A.D. 978, as the Saxon Annals (though some of our historians say 979 and 981), upon occasion of the barbarous murder of Edward, King of the West Saxons, son of King Edgar, committed here by his mother-in-law, Elfrith, or Elfrida; 15 cal. April, in the middle of lent: The foulest deed, says the Saxon annalist, ever committed by the Saxons since they landed in Britain.”

In the reign of King Stephen, the Castle was seized by Baldwin de Rivers, Earl of Devon; and though the King afterwards endeavoured to dispossess him, his efforts were ineffectual. King John appears to have made it for some time his place of residence, as several writs, issued by him in the fifteenth and sixteenth of his reign, are dated at Corfe. On the coronation of Henry the Third, Peter de Mauley, the governor of the Castle, was summoned to attend the ceremony, and to bring with him the regalia, “then in his custody in this Castle wherewith he had been entrusted by John.” The following year he delivered up the Castle to the King, with all the military engines, ammunition, and jewels, committed to his charge.—Edward the Second was removed hither from Kenelworth Castle, when a prisoner, by order of the Queen, and her favourite Mortimer. Henry the Seventh repaired the Castle for the residence of his mother, the Countess of Richmond, the parliament having granted 2,000l. for that purpose; yet it does not appear that it was ever inhabited by this princess. It was again repaired by Sir Christopher Hatton, and most probably by Sir John Bankes, whose lady became illustrious from the gallant manner in which she defended it from the attacks of the parliament’s forces, in the time of Charles the First.

In the year 1645 and 1646, the Castle was again besieged, or rather blockaded, by the parliament’s forces, who obtained possession through the treachery of Lieutenant-Colonel Pitman, an officer of the garrison. When it was delivered up, the parliament ordered it to be demolished; and the walls and towers were undermined, and thrown down, or blown up with gunpowder. “Thus this ancient and magnificent fabric was reduced to a heap of ruins, and remains a lasting monument of the dreadful effects of anarchy, and the rage of civil war. The ruins are large, and allowed to be the noblest and grandest in the kingdom, considering the extent of the ground on which they stand. The vast fragments of the King’s Tower, the round towers leaning as if ready to fall, the broken walls, and vast pieces of them tumbled down into the vale below, form such a scene of havoc and desolation, as strikes every curious spectator with horror and concern.”³

The tragical murder of Edward by Elfrida, at Corfe Castle, and its memorable defence by Lady Bankes, form two very interesting narratives in Hutchins’s Dorset. Their details would occupy too much of our present sheet, although they are worth reprinting for the gratification of the general reader.

Corfe Castle, as we have already intimated, is proposed to be disfranchised by the Great Reform Bill now before Parliament.

A year or two hence, probably, the political consequence of the place will be humbled as the Castle itself!

ANCIENT PARLIAMENTS.

(To the Editor.)

In the Literary Magazine for 1792 I find the following list of places, which formerly sent members to parliament:—

The three last named places were summoned during the Commonwealth—also [pg 245]Manchester;—when discontinued, not known. Greenwich was summoned 4th and 5th of Philip and Mary; discontinued 6th of Philip and Mary. The other places were principally summoned and discontinued during the reigns of Edward the First, Second, and Third. Calais, in France, was summoned the 27th of Henry the Eighth; discontinued 3rd of Philip and Mary.

In the reign of Edward the Third, an act of Parliament, made in the reign of William the Conqueror, was pleaded in the case of the Abbey of St. Edmundsbury, and judicially allowed by the court. Hence it appears (says a writer on this subject) that parliaments, or general councils, are coeval with the kingdom itself.

The first triennial parliament was in the year 1561; the first septennial one, in the year 1716.

Henry the Eighth increased the representatives in parliament 38; Edward the Sixth, 44; Mary, 25; Elizabeth, 62; and James the First, 27.

P.T.W.

ANCIENT BOROUGH OF LYDFORD.

(For the Mirror.)

Lydford is a poor, decayed village, consisting of ragged cottages, situated about seven miles from the north of Tavistock, Devonshire. It was (says Britton) formerly a place of consequence; and Prince states, that this ancient town and borough was the largest parish in the county, or the kingdom, and that the whole forest of Dart belonged to it; to whose parson, or rector, all the tithes thereof are due. It is said that this town, in its best strength, was able to entertain Julius Cæsar, at his second arrival here in Britain; but, anno 997 it was grievously spoilt by the inhuman Danes. Recovering again, it had, in the days of the Conqueror, 122 burgesses. This is still the principal town of the Stannaries, wherein the court is held relating to those causes. There is an ancient castle, in which the courts are held; and offenders against the stannary laws were here confined, in a dreary and dismal dungeon, which gave rise to a proverb—”Lydford laws punish a criminal first, and try him afterwards.”

It appears from the Domesday Book, that Lydford and London were rated in the same manner, and at the same time.

Lydford formerly sent members to parliament, but was excused from this burden, as it was then considered, by pleading propter paupertatem.

P.T.W.

A WORD FOR THE READERS OF THE MIRROR.

Cadwallader Colden, in his Account of the Five Indian Nations of Canada, says—“They think themselves by nature superior to the rest of mankind, and call themselves Ongue-honwe—that is, men surpassing all others. The words expressing things lately come to their knowledge are all compounds. They have no labials in their language, nor can they pronounce perfectly any word wherein there is a labial; and when one endeavours to teach them to pronounce these words, they tell one they think it ridiculous that they must shut their lips to speak. Their language abounds with gutturals and strong aspirations: these make it very sonorous and bold; and their speeches abound with metaphors after the manner of the eastern nations. Sometimes one word among them includes an entire definition of the thing: for example—they call wine Oneharadeschoengtseragherie, as to say, a liquor made of the juice of the grape.”

N.B. It is hoped the above guttural word will not stick in the throat of the reader.

P.T.W.

SONG.

(For the Mirror.)

WRITING INK.

(To the Editor.)

I see in your admirable work one of the never ending disquisitions about making writing ink. As I have used as much as most people in the threescore and ten years of my life, and my father used perhaps three times as much, and we never were nor are troubled, I suppose we manage as well as most folks—and as it is begged of me to a great amount, I infer that others like it.

I improve a little on my father’s plan, by substituting a better vehicle, and the knowledge of this improvement I obtained from a lady to whom a Princess Esterhazy communicated it.

It is so convenient, that whenever I go to Leamington, Brighton, Tunbridge, or such places of temporary residence, I send to a chemist’s my recipe, reduced to the quantity of half a pint; and my ink is in use as soon as it comes, improving daily.

My home quantities are these:

This is kept for a week in a wide-mouthed pitcher close to the fire, never on it, frequently stirred with a stick, and slightly covered with a large cork or tile.

My small quantity is—

It will never mould or lose its substance or colour. The large quantity will bear half as much beer for future use. If it thickens, thin it with beer.

I adopt the Italian ladies’ method of keeping the roving of a bit of silk stocking in the glass, which the pen moving, preserves the consistency of the liquid and keeps the fingers from it.

If you have seen better ink than this, I yield my pre-eminence.⁴

BLACKY.

SONG.

(For the Mirror.)

MANNERS & CUSTOMS OF ALL NATIONS.

BULL-BAITING IN SUFFOLK.

(For the Mirror.)

Lavenham Market-place was once considered as one of the most celebrated “theatres for cruel scenes” in the county of Suffolk,

On every anniversary of the Popish powder-plot, it was customary here to bait bulls; and it was then pretty generally understood that no butcher could legally slaughter a bull without first baiting him; or in default of doing so, he must burn candles in his shop so long as a bit of the bull-beef remained there for sale.

Whilst a bull, with false horns, has been defending himself at the stake, or ring, in this market-place, dogs have been seen in the streets quarrelling for a part of the tongue of the living bull![pg 247] and daughters of reason have joined their treble screams to the yell of triumph when the bull either tossed or worried a dog, or a dog had pinned the bull, by fastening on his nose so desperately firm as even to suffer his limbs to be broken—nay, cut off—before he would let go his hold.

A man (of course of the bull-dog breed), not many years since, engaged to attack a bull with his teeth, and so far succeeded as to deprive the animal of power to hurt him.

In Bury, too, so late as the year 1801, a mob of “Christian savages were indulging in the inhuman amusement of baiting and branding a bull. The poor animal, who had been privately baited on the same day, burst from his tethers in a state of madness. He was again entangled, and, monstrous to relate, his hoofs were cut off, and he defended himself on his mangled, bleeding stumps!”

The public exhibition of this most cowardly pastime is now prohibited; and the bull-ring was taken up, by order of Mr. Buck, out of this market-place about eight years back.

The name of the Rev. James Buck, rector of Lavenham, deserves to stand recorded as one of the most indefatigable magistrates who, uniting authority with compassion, exerted himself to the last in the cause of humanity.

The common arguments which have ever been adduced to show that we have animals bred by nature for various sports, and that the poor man has as great a right to his share of amusement as the rich man—that there are in all countries animals originally formed and carefully trained to the exercise of sports—must be admitted; but the Creator of Brutes and the Judge of Man never can behold cruelty to animals without hearing their cry; and although they are all evidently sent for the wise purpose of affording food, and of contributing to the comfort and improvement of the condition of man, they never were created to be abused, lacerated, mangled, and whilst living, cut to pieces and baited by brutes of superior race, depraved at heart and debased by custom.

If two men choose to stand up and fib each other about (saying nothing of the practice), why let them do it; or if two dogs worry each other to death for a bone, or two cocks meet and contend for the sovereignty of a dunghill. In these last two cases the appearance of cruelty is out of the question, and how much soever we may be inclined to pity, we are entirely divested of the ability to blame. Dogs naturally quarrel; and any attempt to reform and reconcile two snarling puppies, would be as inconsistent as it would be foolish to abuse the nettle for stinging our flesh, or to upbraid the poppy for its disagreeable and choking odour.

The true criterion of perfection to civilization is in proportion to the kind feeling entertained, and the humanity practised, towards those animals (in particular) which are subject to the immediate control of man.

Lavenham.

F. RIBBANS.

THE SELECTOR, AND LITERARY NOTICES OF NEW WORKS.

THE JEWS BEFORE THEIR DISPERSION.

In our second reading of Levi and Sarah, or the Jewish Lovers, we have been struck with the following narrative of the pristine celebrity of this favoured people:—

The most ancient of all the written histories of the human race, of their deeds and condition, is undoubtedly that of the people of Israel: a people to whom God himself was both leader and lawgiver—for whom the sea was divided, and the stony rocks poured forth fountains of water—-whose food descended on them from heaven—for whom angels from above fought—and whom all nature cheerfully obeyed,—in short a people, who, through a course of many centuries, though surrounded with numerous Heathen nations, bore constant testimony to the existence of one God alone. It is not wonderful that such a people should think themselves exalted far above all others. Moses, the first of all instructors and legislators, desired to raise his people above the fate which had ruined other nations, by communicating to them firmness and perseverance in their adherence to such institutions, as should keep them a distinct nation from all others. These institutions were peculiarly appropriate to the time, to the situation, and the circumstances of the people for whom they were prescribed. It was not his design that the Children of Israel, when freed from their misery, after wandering forty years in the wilderness, should mix themselves up with the Heathens, and adopt their morals and principles. He desired that they should continue a distinct and holy people, that strangers should be extirpated, and their country be possessed by Jews alone. Their bounds were marked out[pg 248] by God himself, and extended from Lebanon and the Euphrates to the sea; and he commanded them to keep his commandments in the land which he had bestowed upon them, so that he alone should be their Lord. Hereupon, as I have before observed, Moses delivered such laws as were adapted to their situation. But these wanderers of the desert adhered not to the law delivered to them. We find even during the life of Moses much obstinacy, and an unbridled inclination to Heathenism was manifested, by their making objects of idolatrous worship. After the death of Moses, the seventy-two interpreters collected his doctrines; but they added to them some, withdrew others, and confused several, by which the pure Mosaic opinions must have been obscured. And we read accordingly, in the tenth chapter of Judges, “that the children of Israel did evil in the sight of the Lord.” They served Baal and Ashtaroth, the deities of the Syrians and Moabites, and even the gods of the Philistines, whom God had commanded they should not serve.⁶ Their hearts became hardened in their apostacy. The siege of Jerusalem by Nebuchadnazar, and the captivity in Babylon, had the most corrupting influence on the purity of the Mosaic doctrines, and on the laws. The original writings discovered by Hilkiah, were retrenched, added to, and the order of the events displaced. From the long residence amongst, and a great intercourse with strange people, all the frightful prejudices, all the fanciful dreams of our rabbins, were introduced into the sacred books. We learn from the second book of Chronicles, chap. xxxvi. verse 17, “that the king slew the young men with the sword in the house of the sanctuary, and had no compassion upon young man or maiden, old man or him that stooped for age. And all the vessels of gold, and the treasures of the house of the Lord, and of the king and all the princes, these he brought all to Babylon; and they burnt the house of God, and brake down the walls of Jerusalem, and burnt all the palaces thereof with fire.”

During the seventy years that this captivity lasted, only a few old men survived who had retained any recollection of the laws of Moses. Esdras collected, as far as was possible, the doctrines of Moses; but they were mingled with too many principles which were foreign to them, and some of them may be traced to Zoroaster. The existence of the three sects of the Pharisees, the Sadducees, and Essenes, each of which give a different interpretation of the word of God, abundantly prove this. Hillel and Schamai, a little before the time of Vespasian, had a school. The Rabbi Jonathan Sillai, a pupil of Hillel, exalts his master by saying, “If every tree were a pen, and the whole ocean ink, I should not be able to describe the wisdom I have received from Hillel.” What extravagant expressions! How well do they paint the fanaticism of sectarianism! It was not, however, long, before this blind zeal drew down on the people a punishment from Heaven, by the destruction of Jerusalem under the Roman chief, Titus. Read the work of Flavius Josephus, and you will behold the noble firmness and perseverance of the Israelites on one side, and on the other the melancholy truth, that raving enthusiasm and blind obstinacy precipitated the ruin of the most flourishing people in the world. The last siege and capture of Jerusalem will ever be memorable in the history of mankind. How violent was the exasperation between the two sects of the believers! What firmness and obstinacy in each party, who preferred death and the destruction of the whole nation to yielding up the smallest particle of their different opinions! At that time, there fell, by famine and the sword, more than a million of the Jews. One part of the people were left as food for the wild beasts of the field, whilst some were kept alive to grace the triumph of the victor; but that which above all moved the grief of the Israelites, was the destruction of that temple which had been erected by their own monarchs at so great an expense. Its glory has been described by the author already named; I find the description among my papers, and send it to you. You will weep as a true Israelite, and compare our former greatness with the degraded state to which the blindness and errors of our Elders have reduced us.

Under Hadrian, the Jews were once more excited to a contest.⁷ Bar [pg 249]Cochef announced himself as the Messias, but in the sequel 580,000 of our nation were destroyed, and the name of Jerusalem was changed for that of Elia. The emperor Julian, usually called the Apostate, in his ambition for future fame, ordered the Temple of Solomon to be rebuilt. But the fathers of the Christian Church, as well as the contemporary author Ammianus Marcellinus, assert that a fire, which burst forth from the ground, suspended the operation at its commencement.

ANATOMY OF SOCIETY.

By J.A. St. John, Esq.

The title of this work leads the reader to expect a regular and connected series of illustrations of the constitution or frame-work of society, in which its scheme might be traced through the various ramifications. On the contrary, we have two volumes of essays of no consecutive interest, but well written, and in some cases abounding with turns of scholarly elegance. They seldom flag, or grow vapid, notwithstanding they are on subjects of common life and experience, upon which moralists have rung the changes of words for centuries past. Occasionally, however, there are some new positions and little conceits which have more of prettiness than truth to recommend them. To call Cowper’s line

“a piece of impious jargon” is no proof of Mr. St. John’s acumen or fair comprehension of the poet’s meaning, but accords with his unproved assertion “The mark of man’s hand is as visible in the country as in the town to all those who make use of their eyes.” Yet this sentiment is a fair specimen of the stern stuff of which Mr. St. John’s creeds and opinions are made up.⁸ Nevertheless, the volumes are entertaining, and in proof we have carved out a few laconic extracts:

Love of Pleasure.—The cause why men visit each other and converse, abstracting all considerations of business, seems to be simply the love of pleasure. This is the passion truly universal; this is the pivot upon which the world intellectual, as well as the world of sense, turns. Philosophers and saints feel it in their speculations and devotions, and yield to it too, in their way, as completely as the Sybaritish gourmand, whose stomach is his Baal and Ashtaroth. Nor is this at all surprising, in reality, for the gratification of this passion is happiness—a gem for which all the world search, and but few find.

Conversation.—The persons who shine most in conversation are, perhaps, those who attack established opinions and usages; for there is a kind of splendid Quixotism in standing up, even in the advocating of absurdity, against the whole world.

Love.—Do we imagine, when we open some new treatise on Love, that the author has discovered a fresh vein, and mined more deeply than all former adventurers? Not at all: we know very well that the little god has already usurped all beautiful epithets, all soft expressions, all bewitching sounds; and the utmost we expect from the skill of the writer is, that he has thrown all these together, so as to produce a new picture. Love is immortal, and does not grow wrinkled because we and our expressions fade. His heart is still as joyous and his foot as light as when he trod the green knolls of Paradise with Eve. He will be young when he sits upon the grave of the thousandth generation of our posterity, listening to the beating of his own heart, or sporting with his butterfly consort, as childishly as if he were no older than the daisy under his foot. His empire is a theme of which the tongue never grows weary, or utters all that seems to come quivering and gasping to the lips for utterance. We think, more than we ever spoke, of love; and if we have a curiosity when we first touch some erotic volume, it is to see whether the author has embodied our unutterable feelings, or divulged what we have never dared.

Wit in Season.—The jest of an ex-minister is as flavourless as a mummy; as unintelligible as its hieroglyphical epitaph. Three days after his fall, his wit, under the sponge of oblivion, has grown as much a mystery as the name of him who built the pyramid, or the taste of Lot’s wife.

Read my book.—When Hobbes was at any time at a loss for arguments to defend his unsocial principles, vivâ voce, he always used to say—“I have published my opinions; consult my works;[pg 250] and, if I am wrong, confute me publicly.” To most persons this mode of confutation was by far too operose; but they might have confoundedly puzzled the philosopher in verbal disputation.

In “Vino Veritas.”—Horace with commendation of kings—

But much dependence cannot be placed upon what is wrung out of a man under the influence of wine, which does not so much unveil as it disarranges our ideas; and, therefore, whoever contemplates the character from the combination of ideas produced by intoxication, views man in a false light. Violent anger has nearly the same effect as wine.

Cupid—was painted blind by the ancients, to signify that the affections prevent the sight, not so much from perceiving outward as inward defects.

Character.—Whoever would study the characters of those with whom he lives or converses, must keep up the appearance of a kind of recklessness and frivolity, for the mind closes itself up like the hedgehog, at the least sensible touch of observation, and will not be afterwards drawn out. Men have been known in the middle of a discovery of their character, to be stopped short by a look, which brought them to themselves, and traced before them in an instant the danger of their position and the methods of escape. A keen observer, indeed, may always adjust the temperature of his discourse by the faces of his auditors, which are saddened or brightened, like the face of the sea in April, as more or less of the sunshine of rhetoric breaks forth upon them.

Greatness.—What renders it difficult for ordinary minds to discover a great man before he has, like a tree, put forth his blossoms, is the manner, various and dissimilar, in which such persons evolve their powers. For as in nature the finest days are sometimes in the morning overclouded and dark, so the developement of genius follows no rule, but is hastened or retarded by position and circumstance. But to a keen eye there always appear, even in the first obscurity of extraordinary men, certain internal commotions and throes, denoting some magna vis animi at work within.

Physiognomy.—When Atticus advised Cicero to keep strict watch over his face, in his first interview with Cæsar after the civil wars, he could not mean that he might thereby conceal his character from Cæsar, who knew well enough what that was; but he meant, that by such precaution he might conceal from the tyrant his actual hatred and disgust for his person. Yet for the character and secret nature of a man, fronti nulli fides.

Writing.—It was Addison, we believe, who observed of the schoolmen, that they had not genius enough to write a small book, and therefore took refuge in folios of the largest magnitude. We are getting as fast as possible into the predicament of the schoolmen. No one knows when he has written enough; but, like a player at chess, still goes on with the self-same ideas, merely altering their position. This must arise from early habits and prejudices, from having been taught to regard with veneration vast collections of common-places, under the titles of this or that man’s works. Tacitus may be carried about in one’s pocket, while it will very shortly require a wagon to remove Sir Walter Scott’s labours from place to place. Voltaire’s facility was his greatest fault; better he had elaborated his periods, like Rousseau; who, notwithstanding, wrote too much. The latter, however, of all modern writers, best knew the value of his own mind. His prime of life was passed in vicissitude and study. He did not set himself about writing books for mankind, until he knew what they possessed and what they wanted. It was his opinion that a writer who would do any good should stand upon the pinnacle of his age, and from thence look into the future.

THE NATURALIST.

BIRDS CHANGING COLOUR.

In a letter to the Editor of the Literary Gazette.

Sir—Observing in the Literary Gazette of last week, a notice of Mr. Young’s account of the change of colour in the plumage of birds from fear, I have been induced to mention some circumstances which, among others, fell under my own observation, and from which I am led to conclude that such changes among the volatile tribes are not so rare as may be imagined, and are often produced by disease, as well as by other mental passions besides terror.

Without referring to the celebrated Jacobite goldfinch of Miss Cicy Scott, which the good old maiden of Carubber’s Close affirmed became of a deep sable[pg 251] hue on the day of Charles’s martyrdom—though doubtless the natural philosopher would have discovered in this some more efficient cause than respect for the royal sufferer!—I myself recollect a partial change in the colour of a fine green parrot, belonging to Mr. Rutherford, of Ladfield. Like Miss Scott, the laird of Ladfield was a stanch adherent of the house of Stuart, and to his dying day cherished the hope of beholding their restoration to the throne of Britain.

In the meantime, Mr. Rutherford amused his declining years by teaching Charley to whistle “The king shall hae his ain again,” and to gibber “Send the old rogue to Hanover;” for which he was always rewarded by a sugar-plum or a dole of wassail (Scotch short-bread). Those epicurean indulgences at length induced a state of obesity; and so depraved became the appetite of the bird, that, rejecting his natural food, he used to pluck out the feathers from those parts of the back within his reach, and bruise them with his bill, to obtain the oily substance contained in the quills.

The feathers which grew on the denuded parts were whitish, and never resumed their natural hue. I often saw Charley long after the death of his master, and he looked as if Nature, in one of her sportive moods, had created him half parrot, half gosling—so strangely did his whitish back and tail contrast with his scarlet poll and brilliant green neck.

A still more remarkable change of colour in a lark, belonging to Dr. Thos. Scott, of Fanash, occurred under my own eye, and which, I have no doubt, was produced by grief at being separated from a mavis. Their cages had long hung side by side in the parlour, and often had they striven to out-rival each other in the loudness of their song, till their minstrelsy became so stunning, that it was found necessary to remove the laverock to a drawing-room above stairs.

The poor bird gradually pined, moped, and ceased its song; its eyes grew dim, and its plumage assumed a dullish tint, which, in less than a fortnight, changed to a deep black.

The worthy physician watched with the eye of a naturalist this phenomenon; but, after awhile, fearing for the life of his favourite, he ordered it to be replaced alongside its companion.

In a short time it resumed its spirits and its song—recommenced its rivalry with the mavis; but, after every moulting, the new feathers were always of the same coal-black colour. The mavis evinced no corresponding feeling of attachment—neither, so far as I recollect, missing its companion, nor rejoicing at its restoration.

A.C. HALL.

SPIRIT OF THE PUBLIC JOURNALS.

BATTLE OF THE CATS.

(From the "Noctes" of Blackwood.)

Tickler.—A Battle of Cats.

Miss Tabitha having made an assignation with Tom Tortoiseshell, the feline phenomenon, they two sit curmurring, forgetful of mice and milk, of all but love! How meekly mews the Demure, relapsing into that sweet under-song—the Purr! And how curls Tom’s whiskers like those of a Pashaw! The point of his tail—and the point only is alive—insidiously turning itself, with serpent-like seduction, towards that of Tabitha, pensive as a nun. His eyes are rubies, hers emeralds—as they should be—his lightning, hers lustre—for in her sight he is the lord, and in his, she is the lady of creation.

North.—

Shepherd.—The last line wunna answer—

Tickler.—Woman or cat,—she who hesitates, is lost. But Diana, shining in heaven, the goddess of the Silver Bow, sees the peril of poor Pussy, and interposes her celestial aid to save the vestal. An enormous grimalkin, almost a wild cat, comes rattling along the roof, down from the chimney-top, and Tom Tortoiseshell, leaping from love to war, tackles to the Red Rover in single combat. Sniff—snuff—splutter—squeak—squall—caterwaul—and throttle!

North.—Where are the following lines?

Shepherd.—Wheesht, North, wheesht.

Tickler.—Over the eaves sweeps the hairy hurricane. Two cats in one—like a prodigious monster with eight legs and a brace of heads and tails—and through among the lines on which clothes are hanging in the back-green, and which break the fall, the dual number plays squelch on the miry herbage.

Shepherd.—A pictur o’ a back-green in fowre words. I see it and them.

Tickler.—The four-story fall has given them fresh fury and more fiery life. What tails!—each as thick as my arm, and rustling with electricity like the northern streamers. The Red Rover is generally uppermost—but not always, for Tom has him by the jugular like a very bulldog—and his small, sharp, tiger-teeth, entangled in the fur, pierce deeper and deeper into the flesh—while Tommy keeps tearing away at his rival, as if he would eat his way into his wind-pipe. Heavier than Tom Tortoiseshell is the Red Rover by a good many pounds;—but what is weight to elasticity—what is body to soul? In the long tussle, the hero ever vanquishes the ruffian—as the Cock of the North the Gander.

North (bowing).—Proceed.

Tickler.—Cats’ heads are seen peering over the tops of walls, and then their lengthening bodies, running crouchingly along the copestones, with pricked-up ears and glaring eyes, all attracted towards one common centre—the back-green of the inextinguishable battle. Some dropping, and some leaping down, from all altitudes—lo! a general melée! For Tabitha, having through a skylight forced her way down stairs, and out of the kitchen-window into the back-area, is sitting pensively on the steps,

Detachments come wheeling into the field of battle from all imaginable and unimaginable quarters;—and you now see before you all the cats in Edinburgh, Stockbridge, and the suburbs—about as many, I should suppose, as the proposed constituents of our next city member.

Shepherd.—The Town-Council are naething to them in nummers. The back-green’s absolutely composed o’ cats.

Tickler.—Up fly a thousand windows from ground-flat to attic, and what an exhibition of night-caps! Here elderly gentlemen, apparently in their shirts, with head night-gear from Kilmarnock, worthy of Tappitoury’s self,—behind them their wives—grandmothers at the least—poking their white faces, like those of sheeted corpses, over the shoulders of the fathers of their numerous progeny—there chariest maids, prodigal enough to unveil their beauties to the moon, yet, in their alarm, folding the frills of their chemises across their bosoms—and lo! yonder the Captain of the Six Feet Club, with his gigantic shadow frightening that pretty damsel back to her couch, and till morning haunting her troubled dreams. “Fire! Fire!” “Murder! Murder!” is the cry—and there is wrath and wonderment at the absence of the police-officers and engines. A most multitudinous murder is in process of perpetration there—but as yet fire is there none; when lo! and hark! the flash and peal of musketry—-and then the music of the singing slugs slaughtering the Catti, while bouncing up into the air, with Tommy Tortoise clinging to his carcass, the Red Rover yowls wolfishly to the moon, and then descending like lead into the stone area, gives up his nine-ghosts, never to chew cheese more, and dead as a herring. In mid-air the Phenomenon had let go his hold, and seeing it in vain to oppose the yeomanry, pursues Tabitha, the innocent cause of all this woe, into the coal-cellar, and there, like Paris and Helen,

entitled but not tempted to look at a king, the peerless pair begin to purr and play in that subterranean paradise, forgetful of the pile of cat-corpses that in that catastrophe was heaped half-way up the currant-bushes on the walls, so indiscriminate had been the Strages. All undreamed of by them the beauty of the rounded moon, now hanging over the city, once more steeped in stillness and in sleep!

FROM THE SPANISH.

THE SLAVE SHIP, A GALLEY YARN.

SPIRIT OF DISCOVERY.

VENTRILOQUISM.

The art of the ventriloquist is well known: it consists in making his auditors believe that words and sounds proceed from certain persons and certain objects in his vicinity, while they are uttered by himself; and it is founded on that property of sound in virtue of which the human ear is unable to judge with any accuracy of the direction in which sounds reach it. This incapacity of the ear is the fertile source of many of those false judgments which impress a supernatural character upon sounds that have a fixed locality and a physical origin.—We know of a case, where a sort of hollow musical sound, originating within three or four feet of the ears of two persons in bed, baffled for months every attempt to ascertain its cause. Sometimes it seemed to issue from the roof, sometimes from a neighbouring apartment, but never from the spot from which it really came. Its supposed localities were carefully examined, but no cause for its production could be ascertained. Though it was always heard by both persons together, it was never heard when A. alone was in the apartment, and the time of its occurrence depended on the presence of B. This connected it with his destiny, and the imagination was not slow in turning the discovery to its own purposes. An event, however, which might never have occurred in the life-time of either party, revealed the real cause of the sound, the locality of which was never afterwards mistaken.

In order to understand what part this indecision of the ear performs in the feats of the ventriloquist, let the reader suppose two men placed before him in the open air, at the distance of one hundred feet, and standing close together. If they speak in succession, and if he does not know their voices, or see their lips move, he will be unable to tell which of them it is that speaks. If a man and a child are now placed so near the auditor that he can distinguish, without looking at them, the direction of the sounds which they utter, that is, whether the sound comes from the right or the left hand person, let the man be supposed capable of speaking in the voice of a child. When the man speaks in the language and the accents of the child, the auditor will suppose that the child is the speaker, although his ear could distinguish, under ordinary circumstances, that the sound came from the man. The knowledge conveyed to him by his ear is, in this case, made to yield to the more forcible conviction that the language and accents of a child could come only from the child; this conviction would be still further increased if the child should use gestures, or accommodate his features to the childish accents uttered by the man. If the man were to speak in his own character and his own voice, while the child exhibited the gestures and assumed the features which correspond with the words uttered, the auditor might be a little puzzled; but we are persuaded that the exhibition made to the eye would overpower his other sources of knowledge, and that he would believe the accents of the man to be uttered by the child: we suppose, of course, that the auditor is not allowed to observe the features of the person who speaks.

In this case the man has performed the part of a ventriloquist, in so far as he imitated accurately the accents of the child; but the auditor could not long be deceived by such a performance. If the man either hid his face or turned his back upon the auditor when he was executing his imitation, a suspicion would immediately arise, the auditor would attend more diligently to the circumstances of the exhibition, and would speedily detect the imposition. It is absolutely necessary, therefore, that the ventriloquist shall possess another art, namely, that of speaking without moving his lips or the muscles of his face: how this is effected, and how the art is acquired, we do not certainly know; but we believe that it is accomplished by the muscles of the throat, assisted by the action of the tongue upon the palate, the teeth, and the inside of the lips—all of them being movements which are perfectly compatible with the immutability of the lips themselves, and the absolute expression of silence in the countenance. The sounds thus uttered are necessarily of a different character from those which are produced by the organs of speech when unimpeded, and this[pg 255] very circumstance gives double force to the deception, especially when the ventriloquist artfully presents the contrast to his auditor by occasionally speaking with his natural voice. If he carries in his hand those important personages Punch and Judy, and makes their movements even tolerably responsive to the sentiment of the dialogue, the spectator will be infinitely more disposed to refer the sounds to the lantern jaws and the timber lips of the puppets than to the conjurer himself, who presents to them the picture of absolute silence and repose.

Mr. Dugald Stewart, who has written an interesting article on ventriloquism in the appendix to the third volume of the “Elements of the Philosophy of the Human Mind,” has, we think, taken a very imperfect view of the subject. He not only doubts the fact, that ventriloquists possess the power of fetching a voice from within, but “he cannot conceive what aid the ventriloquist could derive in the exercise of his art from such an extraordinary power, if it were really in his possession.” He expresses himself “fully satisfied, that the imagination alone of the spectators, when skilfully managed, may be rendered subservient in a considerable degree to the purposes of the ventriloquist;” and he is rather inclined to think, that “when seconded by such powers of imitation as some mimics possess, it is quite sufficient to account for all the phenomena of ventriloquism of which we have heard.”

From these observations it would appear, that Mr. Stewart had never witnessed those feats of the ventriloquist where his face is distinctly presented to the audience—a case in which he must necessarily speak from within. But independent of this fact, it is very obvious that there are many imitations, especially those of the cries of particular animals, and of sounds of a high pitch, which cannot be performed pleno ore, by the ordinary modes of utterance, but which require for their production that very faculty, of which Mr. Stewart doubts the existence. Such sounds are necessarily produced by the throat, without requiring the use of the mouth and lips; and the deception actually depends on the difference between such sounds, and those which are generated by the ordinary modes of utterance.

The art of ventriloquism, therefore, consists in the power of imitating all kinds of sound, not only in their ordinary character, but as modified by distance, obstructions, and other causes; and also in the power of executing those imitations by muscular exertions which cannot be seen by the spectators. But these powers, to whatever degree of perfection they may be possessed, would be of no avail if it were not for the incapacity of the ear to distinguish the directions of sounds—an incapacity not arising from any defect in the organ itself, but from the very nature of sound. If sound were propagated in straight lines, like light, and if the ear appreciated the direction of the one, as the eye does that of the other, the ventriloquist would exercise in vain all the powers of imitation and of internal utterance. Even in the present constitution of the ear, his art has its limits, beyond which he must be cautious of pushing it, unless he calls to his aid another principle, which, we believe, has not yet been tried. In order to explain this, we shall analyze some of the most common feats of ventriloquism. When M. Fitzjames imitated the watchman crying the hour in the street, and approaching nearer and nearer the house, till he came opposite the window, he threw up the window-sash, and asked the hour, which was immediately answered in the same tone, but clearer and louder; and upon shutting the window, the watchman’s voice became less audible, and all at once very faint, when the ventriloquist called out, in his own voice, that he had turned the corner. Now, as the artist was stationed at the window, and as the sound from a real watchman must necessarily have entered by the window, the difference between the two directions was considerably less than that which the ear is unable to appreciate. Had the ventriloquist stood at one window, and tried to make the sound of a watchman’s voice enter another window, he would have failed in his performance, because the difference of the two directions was too great. In like manner, when M. Alexandre introduced a boy from the street, and made him sing from his stomach the song of Malbrook, he placed his head as near as possible to the boy’s chest, under the pretence of listening, whereas the real object of it was to assimilate as much as possible the true and the fictitious direction of the sounds. Had he placed the boy at the distance of six or eight feet, the real singer would have been soon detected.

We have made several experiments with a view of determining the angle of uncertainty, or the angle within which the ear cannot discover the direction of sounds; but this is not easily done, for it varies with the state of the air and of surrounding objects. If the air is perfectly[pg 256] pure, and if no objects surround the sounding body, the angle of uncertainty will be less than under any other circumstances, as the sound suffers neither deviation nor reflection. If the sounding body is encircled with objects which reflect sound, the echoes arrive at the ear, at short distances, nearly at the same time with the direct sound; and as they form a single sound, the angle of uncertainty must then be much greater, for the sound really arrives at the ear from various quarters. The ventriloquist, therefore, might avail himself of this principle, and choose an apartment in which the reverberations from its different sides multiply the directions of the sounds which he utters, and thus facilitate his purpose of directing the imagination of his audience to the object from which he wishes these sounds to be thought to proceed.

Quarterly Review.

THE GATHERER.

EPITAPH ON STERNE.

LADIES FORMERLY IN PARLIAMENT.

(For the Mirror.)

Gurdon, in his Antiquities of Parliaments, says, “The ladies of birth and quality sat in council with the Saxon Wita’s.” “The Abbess Hilda (says Bede,) presided in an ecclesiastical synod.”

“In Wighfred’s great council at Beconceld, A.D. 694, the abbesses sat and deliberated, and five of them signed the decrees of that council along with the king, bishops, and nobles.”

“King Edgar’s charter to the Abbey of Crowland, A.D. 961, was with the consent of the nobles and abbesses, who subscribed the charter.”

“In Henry the Third’s and Edward the First’s time, four abbesses were summoned to parliament, viz. of Shaftesbury, Berking, St. Mary of Winchester, and of Wilton.”

“In the 35th of Edward III. were summoned by writ to parliament, to appear there by their proxies, viz. Mary Countess of Norfolk, Alienor Countess of Ormond, Anna Despenser, Phillippa Countess of March, Johanna Fitz Water, Agneta Countess of Pembroke, Mary de St. Paul Countess of Pembroke, Margaret de Roos, Matilda Countess of Oxford, Catherine Countess of Athol. These ladies were called Ad Colloquium et Tractatum, by their proxies, a privilege peculiar to the peerage to appear and act by proxy.”

P.T.W.

N.B. They no doubt manfully asserted their colloquial rights.

FASTING.

From a very old work, "Noble Numbers."

ANNUAL OF SCIENCE.

This Day is published, price 5s.

ARCANA of SCIENCE, and ANNUAL REGISTER of the USEFUL ARTS for 1831.

Comprising POPULAR INVENTIONS, IMPROVEMENTS, and DISCOVERIES Abridged from the Transactions of Public Societies and Scientific Journals of the past year. With several Engravings.

“One of the best and cheapest books of the day.”—Mag. Nat. Hist.

“An annual register of new inventions and improvements in a popular form like this, cannot fail to be useful.”—Lit. Gaz.

Printed for JOHN LIMBIRD, 143. Strand;—of whom may be had the Volumes for the three preceding years.

Footnote 1: (return)

Hutchins’s Dorset, vol. i, p. 279, 2nd edit.

Footnote 2: (return)

Maton’s Observations, vol. i. p. 12.

Footnote 3: (return)

Hutchins’s Dorset, vol. i. p. 286, 2nd edit.

Footnote 4: (return)

Our correspondent’s communication is in appearance “full, fair, and free,” as all “representations” ought to be.—ED.

Footnote 5: (return)

Ribbans’s “Effusions.”

Footnote 6: (return)

The greater part of the kings, both of Israel and of Judah, served strange gods. Under Josiah, as he cleared out the Temple, the book of the laws of Moses was found by Hilkiah the priest, and was delivered to the king, who was much struck with the threatenings it contained.

Footnote 7: (return)

About fifty years after the destruction of Jerusalem, when the great body of the Jews held the opinion that the time for the appearance of their Messias had arrived, there arose this man, who announced himself in that character, and called himself Bar Cochef, or the “Son of a Star.” He was acknowledged by numbers of his people, who became his followers, declared him their king, and made war upon the Romans, many of whom were destroyed, both in Greece and in Africa. His power continued betwixt three and four years, when the very people who had supported him proclaimed him an impostor, and gave him the name Bar Cosifa, or the “Son of a Lie.”

Footnote 8: (return)

One of Mr. St. John’s lines in the Essay on the Influence of Great Cities (the worst in the volume,) is “The very name of London sounds sweetly to me.” This is not a whit better than the man who thought “no garden like Covent Garden, and no flower like a cauliflower.” Captain Morris’s “sweet shady side of Pall Mall,” compared to these sentiments, is a piece of delicious refinement.

Printed and Published by J. LIMBIRD, 143, Strand, (near Somerset House,) London; sold by ERNEST FLEISCHER, 626, New Market, Leipsic; G.G. BENNIS, 55, Rue Neuve, St. Augustin, Paris; and by all Newsmen and Booksellers.

End of the Project Gutenberg EBook of The Mirror of Literature, Amusement,
and Instruction, No. 484, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK MIRROR OF LITERATURE ***

***** This file should be named 12766-h.htm or 12766-h.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/1/2/7/6/12766/

Produced by Jonathan Ingram, Barbara Tozier and PG Distributed
Proofreaders


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
https://gutenberg.org/license).


Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from.  If you
received the work on a physical medium, you must return the medium with
your written explanation.  The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund.  If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund.  If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.

1.F.4.  Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

1.F.5.  Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law.  The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers.  It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at https://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
https://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 https://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 https://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 including checks, online payments and credit card
donations.  To donate, please visit: https://pglaf.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 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:

     https://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.