The Project Gutenberg Works of James Matthew Barrie

*** END OF THE PROJECT GUTENBERG EBOOK INDEX OF THE PROJECT GUTENBERG WORKS OF JAMES MATTHEW BARRIE ***

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. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ 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™ License available with this file or online at www.gutenberg.org/license.

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

1.A. By reading or using any part of this Project Gutenberg™ 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™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ 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™ 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™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ 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™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law 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™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ 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™ 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™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than 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™ License must appear prominently whenever any copy of a Project Gutenberg™ 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 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.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (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™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ 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™ 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™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

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™ 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™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (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™ 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™ 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™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ 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™ 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™ 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™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ 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 works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ 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™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

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

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

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

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ 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™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

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

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ 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™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright 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 website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, 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.

CHAPTER I	PETER BREAKS THROUGH
CHAPTER II	THE SHADOW
CHAPTER III	COME AWAY, COME AWAY!
CHAPTER IV	THE FLIGHT
CHAPTER V	THE ISLAND COME TRUE
CHAPTER VI	THE LITTLE HOUSE
CHAPTER VII	THE HOME UNDER THE GROUND
CHAPTER VIII	THE MERMAIDS' LAGOON
CHAPTER IX	THE NEVER BIRD
CHAPTER X	THE HAPPY HOME
CHAPTER XI	WENDY'S STORY
CHAPTER XII	THE CHILDREN ARE CARRIED OFF
CHAPTER XIII	DO YOU BELIEVE IN FAIRIES?
CHAPTER XIV	THE PIRATE SHIP
CHAPTER XV	'HOOK OR ME THIS TIME'
CHAPTER XVI	THE RETURN HOME
CHAPTER XVII	WHEN WENDY GREW UP

		Page
PART I	Early Days	3
PART II	The Never-Never-Never Land	27
PART III	The Mermaids' Lagoon	43
PART IV	The Underground Home	51
PART V	The Pirate Ship	65
PART VI	Home, Sweet Home	79

	TO FACE PAGE
With the Spring comes Wendy	colour-plate frontispiece
With Michael sitting on her Back	colour-plate 6
The Shadow held on beautifully	14
Wendy gently kissed his Cheek	colour-plate 16
Away they floated	22
Slightly was dancing merrily with an Ostrich	colour-plate 28
"The Crocodile! the Crocodile!"	32
The Indians crept silently up	34
The Lost Boys knelt before her	colour-plate 38
She was combing her Long Tresses	43
She slipped out of his Grasp	44
A Fierce Fight ensued	46
Spreading his Coat to the Wind, he sailed merrily	colour-plate 48
Seized by One of the Swarthy Ruffians	59
He perceived Tinker Bell in his Glass	colour-plate 62
The Pirate Ship	66
"That Man is mine!"	colour-plate 72
Right into the Jaws of the Crocodile!	74
Nurse to the Papooses!	76
He would live in the Kennel till his Children's Return	80

CHAPTER I	THE GRAND TOUR OF THE GARDENS
CHAPTER II	PETER PAN
CHAPTER III	THE THRUSH'S NEST
CHAPTER IV	LOCK-OUT TIME
CHAPTER V	THE LITTLE HOUSE
CHAPTER VI	PETER'S GOAT

CHAPTER I	THE GRAND TOUR OF THE GARDENS
CHAPTER II	PETER PAN
CHAPTER III	THE THRUSH'S NEST
CHAPTER IV	LOCK-OUT TIME
CHAPTER V	THE LITTLE HOUSE
CHAPTER VI	PETER'S GOAT

	THE LITTLE WHITE BIRD
I	David and I Set Forth Upon a Journey
II	The Little Nursery Governess
III	Her Marriage, Her Clothes, Her Appetite, and an Inventory of Her Furniture
IV	A Night-Piece
V	The Fight For Timothy
VI	A Shock
VII	The Last of Timothy
VIII	The Inconsiderate Waiter
IX	A Confirmed Spinster
X	Sporting Reflections
XI	The Runaway Perambulator
XII	The Pleasantest Club in London
XIII	The Grand Tour of the Gardens
XIV	Peter Pan
XV	The Thrush's Nest
XVI	Lock-Out Time
XVII	The Little House
XVIII	Peter's Goat
XIX	An Interloper
XX	David and Porthos Compared
XXI	William Paterson
XXII	Joey
XXIII	Pilkington's
XXIV	Barbara
XXV	The Cricket Match
XXVI	The Dedication

ACT I.	AT LOAM HOUSE, MAYFAIR
ACT II.	THE ISLAND
ACT III.	THE HAPPY HOME
ACT IV.	THE OTHER ISLAND

I.	THE SCHOOLHOUSE
II.	THRUMS
III.	THE AULD LICHT KIRK
IV.	LADS AND LASSES
V.	THE AULD LICHTS IN ARMS
VI.	THE OLD DOMINIE
VII.	CREE QUEERY AND MYSY DROLLY
VIII.	THE COURTING OF T'NOWHEAD'S BELL
IX.	DAVIT LUNAN'S POLITICAL REMINISCENCES
X.	A VERY OLD FAMILY
XI.	LITTLE RATHIE'S "BURAL"
XII.	A LITERARY CLUB

chap.		page
I.	Matrimony and Smoking compared	1
II.	My First Cigar	11
III.	The Arcadia Mixture	18
IV.	My Pipes	27
V.	My Tobacco-Pouch	38
VI.	My Smoking-Table	45
VII.	Gilray	52
VIII.	Marriot	60
IX.	Jimmy	70
[pg viii] X.	Scrymgeour	78
XI.	His Wife's Cigars	87
XII.	Gilray's Flower-Pot	94
XIII.	The Grandest Scene in History	103
XIV.	My Brother Henry	116
XV.	House-Boat "Arcadia"	124
XVI.	The Arcadia Mixture Again	133
XVII.	The Romance of a Pipe-Cleaner	143
XXVIII.	What could he do?	151
XIX.	Primus	159
XX.	Primus to his Uncle	168
XXI.	English-grown Tobacco	177
XXII.	How Heroes smoke	186
XXIII.	The Ghost of Christmas Eve	194
XXIV.	Not the Arcadia	202
XXV.	A Face that haunted Marriot	209
XXVI.	Arcadians at Bay	216
XXVII.	Jimmy's Dream	223
XXVIII.	Gilray's Dream	231
XXIX.	Pettigrew's Dream	239
XXX.	The Murder in the Inn	247
XXXI.	The Perils of not Smoking	252
XXXII.	My Last Pipe	260
XXXIII.	When my Wife is Asleep and all the House is Still	269

Half-Title	i
Frontispiece	iv
Title-Page	v
Headpiece to Table of Contents	vii
Tailpiece to Table of Contents	viii
Headpiece to List of Illustrations	ix
Tailpiece to List of Illustrations	xiii
Headpiece to Chap. I.	1
"As well as a spring bonnet and a nice dress"	6
"There are the Japanese fans on the wall"	7
Tailpiece Chap. I. "My wife puts her hand on my shoulder"	10
Headpiece Chap. II.	11
"At last he jumped up"	14
Box of cigars	15
Tailpiece Chap. II. "I firmly lighted my first cigar"	17
Headpiece Chap. III. "Jimmy pins a notice on his door"	18
"We are only to be distinguished by our pipes"	20
The Arcadia Mixture	21
Tailpiece Chap. III.	26
Headpiece Chap. IV. "Oh, see what I have done"	27
"I fell in love with two little meerschaums"	33
Pipes and pouch	36
Tailpiece Chap. IV.	37
Headpiece Chap. V. "They ... made tongs of their knitting-needles to lift it"	38
"I ... cast my old pouch out at the window"	40, 41
"It never quite recovered from its night in the rain"	43
Tailpiece Chap. V.	44
Headpiece Chap VI. "My Smoking-Table"	45
"Sometimes I had knocked it over accidentally"	48
Tailpiece Chap. VI.	51
Headpiece Chap. VII. "We met first in the Merediths' house-boat"	52
"He 'strode away blowing great clouds into the air,'"	57
Tailpiece Chap. VII. "The Arcadia had him for its own"	59
Headpiece Chap. VIII. "I let him talk on"	60
Pipes and jar of spills	62, 63
Tray of pipes and cigars	64
"I would ... light him to his sleeping-chamber with a spill"	68
Tailpiece Chap. VIII.	69
Headpiece Chap. IX. "The stem was a long cherry-wood"	70
"In time ... the Arcadia Mixture made him more and more like the rest of us"	71
"A score of smaller letters were tumbling about my feet"	74
Tailpiece Chap. IX. "Mothers' pets"	77
Headpiece Chap. X. "Scrymgeour was an artist"	78
"With shadowy reptiles crawling across the panels"	81
"Scrymgeour sprang like an acrobat into a Japanese dressing-gown"	84
Tailpiece Chap. X.	86
Headpiece Chap. XI. "His wife's cigars"	87
"A packet of Celebros alighted on my head"	88
"I told her the cigars were excellent"	90
Tailpiece Chap. XI.	93
Headpiece Chap. XII. "Gilray's flower-pot"	94
"Then Arcadians would drop in"	97
"I wrote to him"	99
Tailpiece Chap. XII. "The can nearly fell from my hand"	102
Headpiece Chap. XIII.	103
"Raleigh ... introduced tobacco into this country"	105
The Arcadia Mixture	111
"Ned Alleyn goes from tavern to tavern picking out his men"	113
Tailpiece Chap. XIII.	115
Headpiece Chap. XIV. "I was testing some new Cabanas"	116
"A few weeks later some one tapped me on the shoulder"	118
"Naturally in the circumstances you did not want to talk about Henry"	120
Tailpiece Chap. XIV.	123
Headpiece Chap. XV. "House-boat Arcadia"	124
"I caught my straw hat disappearing on the wings of the wind"	126
"It was the boy come back with the vegetables"	129
Tailpiece Chap. XV. "There was a row all round, which resulted in our division into five parties"	132
Headpiece Chap. XVI. "The Arcadia Mixture again"	133
"On the open window ... stood a round tin of tobacco"	135
"A pipe of the Mixture"	138
"The lady was making pretty faces with a cigarette in her mouth"	139
Tailpiece Chap. XVI.	142
Headpiece Chap. XVII. "He was in love again"	143
"I heard him walking up and down the deck"	145
Tailpiece Chap. XVII. "He took the wire off me and used it to clean his pipe"	150
Headpiece Chap. XVIII. "I had walked from Spondinig to Franzenshohe"	151
"On the middle of the plank she had turned to kiss her hand"	152
"Then she burst into tears"	157
Tailpiece Chap. XVIII. "A wall has risen up between us"	158
Headpiece Chap. XIX. "Primus"	159
"Many tall hats struck, to topple in the dust"	161
"Running after sheep, from which ladies were flying"	163
"I should like to write you a line"	165
Tailpiece Chap. XIX. "I am, respected sir, your diligent pupil"	167
Headpiece Chap. XX.	168
"Reading Primus's letters"	171
Tailpiece Chap. XX.	176
Headpiece Chap. XXI. "English-grown tobacco"	177
"I smoked my third cigar very slowly"	182
Tailpiece Chap. XXI.	185
Headpiece Chap. XXII. "How heroes smoke"	186
"Once, indeed, we do see Strathmore smoking a good cigar"	189
"A half-smoked cigar"	190
"The tall, scornful gentleman who leans lazily against the door"	192
Tailpiece Chap. XXII.	193
Headpiece Chap. XXIII.	194
"The ghost of Christmas eve"	195
"My pipe"	199
"My brier, which I found beneath my pillow"	200
Tailpiece Chap. XXIII.	201
Headpiece Chap. XXIV. "But the pipes were old friends"	202
"It had the paper in its mouth"	205
Tailpiece Chap. XXIV. "I was pleased that I had lost"	208
Headpiece Chap. XXV. "A face that haunted Marriot"	209
"There was the French girl at Algiers"	212
Tailpiece Chap. XXV.	215
Headpiece Chap. XXVI. "Arcadians at bay"	216
Pipes and tobacco-jar	220
Tailpiece Chap. XXVI. "Jimmy began as follows"	222
Headpiece Chap. XXVII. "Jimmy's dream"	223
Pipes	226
"Council for defence calls attention to the prisoner's high and unblemished character"	229
Tailpiece Chap. XXVII.	230
Headpiece Chap. XXVIII.	231
"These indefatigable amateurs began to dance a minuet"	235
A friendly favor	237
Tailpiece Chap. XXVIII.	238
Headpiece Chap. XXIX. "Pettigrew's dream"	239
"He went round the morning-room"	241
"His wife ... filled his pipe for him"	243
"Mrs. Pettigrew sent one of the children to the study"	244
Tailpiece Chap. XXIX. "I awarded the tin of Arcadia to Pettigrew"	246
Headpiece Chap. XXX. "Sometimes I think it is all a dream"	247
Tailpiece Chap. XXX.	251
Headpiece Chap. XXXI. "They thought I had weakly yielded"	252
"They went one night in a body to Pettigrew's"	254
Tailpiece Chap. XXXI.	259
Headpiece Chap. XXXII.	260
"Then we began to smoke"	262
"I conjured up the face of a lady"	265
"Not even Scrymgeour knew what my pouch had been to me"	267
Tailpiece Chap. XXXII.	268
Headpiece Chap. XXXIII. "When my wife is asleep and all the house is still"	269
"The man through the wall"	272
Pipes	275
Tailpiece Chap. XXXIII.	276

I.	ENGAGED?
II.	THE S. D. W. S. P.?
III.	THE GREAT SOCIAL QUESTION?
IV.	WOMAN'S RIGHTS?
V.	DYNAMITERS?
VI.	A CELEBRITY AT HOME?
VII.	EXPERIMENTING?
VIII.	A LOST OPPORTUNITY?
IX.	THE ROOT OF THE MATTER?
X.	THE OLD OLD STORY?

I	THE HOUSE ON THE BRAE
II	ON THE TRACK OF THE MINISTER
III	PREPARING TO RECEIVE COMPANY
IV	WAITING FOR THE DOCTOR
V	A HUMORIST ON HIS CALLING
VI	DEAD THIS TWENTY YEARS
VII	THE STATEMENT OF TIBBIE BIRSE
VIII	A CLOAK WITH BEADS
IX	THE POWER OF BEAUTY
X	A MAGNUM OPUS
XI	THE GHOST CRADLE
XII	THE TRAGEDY OF A WIFE
XIII	MAKING THE BEST OF IT
XIV	VISITORS AT THE MANSE
XV	HOW GAVIN BIRSE PUT IT TO MAG LOWNIE
XVI	THE SON FROM LONDON
XVII	A HOME FOR GENIUSES
XVIII	LEEBY AND JAMIE
XIX	A TALE OF A GLOVE
XX	THE LAST NIGHT
XXI	JESS LEFT ALONE
XXII	JAMIE'S HOME-COMING

		PAGE
I.	The Love-Light.	1
II.	Runs Alongside the Making of a Minister.	7
III.	The Night-Watchers.	17
IV.	First Coming of the Egyptian Woman.	30
V.	A Warlike Chapter, Culminating in the Flouting of the Minister by the Woman.	42
VI.	In Which the Soldiers Meet the Amazons of Thrums.	50
VII.	Has the Folly of Looking into a Woman’s Eyes by way of Text.	62
VIII.	3 A.M.—Monstrous Audacity of the Woman.	69
IX.	The Woman Considered in Absence—Adventures of a Military Cloak.	79
X.	First Sermon Against Women.	89
XI.	Tells in a Whisper of Man’s Fall During the Curling Season.	100
XII.	Tragedy of a Mud House.	110
XIII.	Second Coming of the Egyptian Woman.	117
XIV.	The Minister Dances to the Woman’s Piping.	125
XV.	The Minister Bewitched—Second Sermon against Women.	135
XVI.	Continued Misbehaviour of the Egyptian Woman.	143
XVII.	Intrusion of Haggart into These Pages against the Author’s Wish.	151
XVIII.	Caddam—Love Leading to a Rupture.	161
XIX.	Circumstances Leading to the First Sermon in Approval of Women.	169
XX.	End of the State of Indecision.	177
XXI.	Night—Margaret—Flashing of a Lantern.	186
XXII.	Lovers.	196
XXIII.	Contains a Birth, Which is Sufficient for One Chapter.	205
XXIV.	The New World, and the Woman Who May Not Dwell Therein.	211
XXV.	Beginning of the Twenty-Four Hours.	217
XXVI.	Scene at the Spittal.	225
XXVII.	First Journey of the Dominie to Thrums During the Twenty-Four Hours.	232
XXVIII.	The Hill before Darkness Fell—Scene of the Impending Catastrophe.	237
XXIX.	Story of the Egyptian.	244
XXX.	The Meeting for Rain.	252
XXXI.	Various Bodies Converging on the Hill.	259
XXXII.	Leading Swiftly to the Appalling Marriage.	268
XXXIII.	While the Ten O’Clock Bell Was Ringing.	274
XXXIV.	The Great Rain.	281
XXXV.	The Glen at Break of Day.	285
XXXVI.	Story of the Dominie.	299
XXXVII.	Second Journey of the Dominie to Thrums During the Twenty-Four Hours.	308
XXXVIII.	Thrums during the Twenty-Four Hours—Defence of the Manse.	315
XXXIX.	How Babbie Spent the Night of August Fourth.	324
XL.	Babbie and Margaret—Defence of the Manse Continued.	330
XLI.	Rintoul and Babbie—Breakdown of the Defence of the Manse.	337
XLII.	Margaret, the Precentor, and God Between.	345
XLIII.	Rain—Mist—The Jaws.	353
XLIV.	End of the Twenty-Four Hours.	363
XLV.	Talk of a Little Maid Since Grown Tall.	369

	PAGE
I. Lord Rosebery,	7
II. Professor Masson,	19
III. Professor Blackie,	31
IV. Professor Calderwood,	41
V. Professor Tait,	53
VI. Professor Fraser,	67
VII. Professor Chrystal,	77
VIII. Professor Sellar,	91
IX. Mr. Joseph Thomson,	105
X. Robert Louis Stevenson,	115
XI. Rev. Walter C. Smith, D.D.,	129

	PAGE.
James Matthew Barrie,	15
A Holiday in Bed,	23
Life in a Country Manse,	37
Life in a Country Manse—A Wedding in a Smiddy,	49
A Powerful Drug,	61
Every Man His own Doctor,	73
Gretna Green Revisited,	87
My Favorite Authoress,	111
The Captain of the School,	121
Thoughtful Boys Make Thoughtful Men,	131
It,	145
To the Influenza,	153
Four-in-Hand Novelists,	161
Rules on Carving,	173
On Running After a Hat,	179

CHAPTER I	ROB ANGUS IS NOT A FREE MAN	1
CHAPTER II	ROB BECOMES FREE	17
CHAPTER III	ROB GOES OUT INTO THE WORLD	27
CHAPTER IV	'THE SCORN OF SCORNS'	43
CHAPTER V	ROB MARCHES TO HIS FATE	62
CHAPTER VI	THE ONE WOMAN	80
CHAPTER VII	THE GRAND PASSION?	99
CHAPTER VIII	IN FLEET STREET	113
CHAPTER IX	MR. NOBLE SIMMS	129
CHAPTER X	THE WIGWAM	139
CHAPTER XI	ROB IS STRUCK DOWN	156
CHAPTER XII	THE STUPID SEX	169
CHAPTER XIII	THE HOUSE-BOAT 'TAWNY OWL'	183
CHAPTER XIV	MARY OF THE STONY HEART	195
CHAPTER XV	COLONEL ABINGER TAKES COMMAND	210
CHAPTER XVI	THE BARBER OF ROTTEN ROW	222
CHAPTER XVII	ROB PULLS HIMSELF TOGETHER	234
CHAPTER XVIII	THE AUDACITY OF ROB ANGUS	245
CHAPTER XIX	THE VERDICT OF THRUMS	254

	SENTIMENTAL TOMMY
CHAPTER I	TOMMY CONTRIVES TO KEEP ONE OUT
CHAPTER II	BUT THE OTHER GETS IN
CHAPTER III	SHOWING HOW TOMMY WAS SUDDENLY TRANSFORMED INTO A YOUNG GENTLEMAN
CHAPTER IV	THE END OF AN IDYLL
CHAPTER V	THE GIRL WITH TWO MOTHERS
CHAPTER VI	THE ENCHANTED STREET
CHAPTER VII	COMIC OVERTURE TO A TRAGEDY
CHAPTER VIII	THE BOY WITH TWO MOTHERS
CHAPTER IX	AULD LANG SYNE
CHAPTER X	THE FAVORITE OF THE LADIES
CHAPTER XI	AARON LATTA
CHAPTER XII	A CHILD'S TRAGEDY
CHAPTER XIII	SHOWS HOW TOMMY TOOK CARE OF ELSPETH
CHAPTER XIV	THE HANKY SCHOOL
CHAPTER XV	THE MAN WHO NEVER CAME
CHAPTER XVI	THE PAINTED LADY
CHAPTER XVII	IN WHICH TOMMY SOLVES THE WOMAN PROBLEM
CHAPTER XVIII	THE MUCKLEY
CHAPTER XIX	CORP IS BROUGHT TO HEEL—GRIZEL DEFIANT
CHAPTER XX	THE SHADOW OF SIR WALTER
CHAPTER XXI	THE LAST JACOBITE RISING
CHAPTER XXII	THE SIEGE OF THRUMS
CHAPTER XXIII	GRIZEL PAYS THREE VISITS
CHAPTER XXIV	A ROMANCE OF TWO OLD MAIDS AND A STOUT BACHELOR
CHAPTER XXV	A PENNY PASS-BOOK
CHAPTER XXVI	TOMMY REPENTS, AND IS NONE THE WORSE FOR IT
CHAPTER XXVII	THE LONGER CATECHISM
CHAPTER XXVIII	BUT IT SHOULD HAVE BEEN MISS KITTY
CHAPTER XXIX	TOMMY THE SCHOLAR
CHAPTER XXX	END OF THE JACOBITE RISING
CHAPTER XXXI	A LETTER TO GOD
CHAPTER XXXII	AN ELOPEMENT
CHAPTER XXXIII	THERE IS SOME ONE TO LOVE GRIZEL AT LAST
CHAPTER XXXIV	WHO TOLD TOMMY TO SPEAK
CHAPTER XXXV	THE BRANDING OF TOMMY
CHAPTER XXXVI	OF FOUR MINISTERS WHO AFTERWARDS BOASTED THAT THEY HAD KNOWN TOMMY
CHAPTER XXXVII	THE END OF A BOYHOOD

The Project Gutenberg eBook of Index of the Project Gutenberg Works of James Matthew Barrie

INDEX OF THE PROJECT GUTENBERG WORKS OF JAMES MATTHEW BARRIE

Compiled by David Widger

CONTENTS

Click on the ## before many of the titles to view a linked table of contents for that volume.

Click on the title itself to open the original online file.

TABLES OF CONTENTS OF VOLUMES

PETER AND WENDY

By J. M. Barrie

Illustrated By F. D. Bedford

CONTENTS

ILLUSTRATIONS

PETER PAN

[PETER AND WENDY]

By J. M. Barrie [James Matthew Barrie]

A Millennium Fulcrum Edition (c)1991 by Duncan Research

CONTENTS

THE STORY OF PETER PAN

The Story Of Peter Pan Retold From The Fairy Play By Sir J.M. Barrie By Daniel O'connor

Illustrated By Alice B. Woodward

CONTENTS

LIST OF ILLUSTRATIONS

PETER PAN IN KENSINGTON GARDENS

By J. M. Barrie

(From 'The Little White Bird')

With Drawings By Arthur Rackham

CHARLES SCRIBNER'S SONS

1910

CONTENTS

ILLUSTRATIONS

PETER PANIN KENSINGTON GARDENS

FROM THE LITTLE WHITE BIRD

By J. M. Barrie

Illustrated By Arthur Rackham

London: Hodder & Stoughton

1906

CONTENTS

COLOURED ILLUSTRATIONS

ILLUSTRATIONS IN THE TEXT

THE LITTLE WHITE BIRD

OR ADVENTURES IN KENSINGTON GARDENS

By J.M. Barrie

CONTENTS

THE ADMIRABLE CRICHTON

From The Plays Of J. M. Barrie

A COMEDY

By J. M. Barrie

CONTENTS

DEAR BRUTUS

By J. M. Barrie

CONTENTS

WHAT EVERY WOMAN KNOWS

By James M. Barrie

CONTENTS

AULD LICHT IDYLLS

CONTENTS

ILLUSTRATIONS

ECHOES OF THE WAR

By J. M. Barrie

CONTENTS

TOMMY AND GRIZEL

By J. M. Barrie

Illustrated By Bernard Partridge

CONTENTS

PART I

PART II

ILLUSTRATIONS

PART I

PART II

MY LADY NICOTINE

A STUDY IN SMOKE

By J. M. Barrie

Illustrated By M. B. Prendergast

CONTENTS

ILLUSTRATIONS

THE NOVELS, TALES AND SKETCHES OF J. M. BARRIE

BETTER DEAD

CONTENTS

A WINDOW IN THRUMS

By J. M. Barrie

INDEX OF THE PROJECT GUTENBERG

WORKS OF

JAMES MATTHEW BARRIE

Click on the ## before many of the titles to view a linked
table of contents for that volume.

A Millennium Fulcrum Edition
(c)1991 by Duncan Research

PENCIL PORTRAITS FROM
COLLEGE LIFE