Manners Makyth Man / Ship's Company, Part 12.
Date: 2004-01-02T00:00:00+00:00
Keywords: Humorous stories; English; England -- Social life and customs -- Fiction

The Project Gutenberg eBook of Manners Makyth Man

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: Manners Makyth Man

Author: W. W. Jacobs

Illustrator: Will Owen

Release date: January 1, 2004 [eBook #10572]
Most recently updated: December 20, 2020

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN ***

BOOK 12

ILLUSTRATIONS

FROM DRAWINGS BY WILL OWEN

"'Gal overboard!' I ses, shouting"
"Arter trying his 'ardest, he could only rock me a bit"

"MANNERS MAKYTH MAN"

The night-watchman appeared to be out of sorts. His movements were even slower than usual, and, when he sat, the soap-box seemed to be unable to give satisfaction. His face bore an expression of deep melancholy, but a smouldering gleam in his eye betokened feelings deeply moved.

"Play-acting I don't hold with," he burst out, with sudden ferocity. "Never did. I don't say I ain't been to a theayter once or twice in my life, but I always come away with the idea that anybody could act if they liked to try. It's a kid's game, a silly kid's game, dressing up and pretending to be somebody else."

He cut off a piece of tobacco and, stowing it in his left cheek, sat chewing, with his lack-lustre eyes fixed on the wharves across the river. The offensive antics of a lighterman in mid-stream, who nearly fell overboard in his efforts to attract his attention, he ignored.

"I might ha' known it, too," he said, after a long silence. "If I'd only stopped to think, instead o' being in such a hurry to do good to others, I should ha' been all right, and the pack o' monkey-faced swabs on the Lizzie and Annie wot calls themselves sailor-men would 'ave had to 'ave got something else to laugh about. They've told it in every pub for 'arf a mile round, and last night, when I went into the Town of Margate to get a drink, three chaps climbed over the partition to 'ave a look at me.

"It all began with young Ted Sawyer, the mate o' the Lizzie and Annie. He calls himself a mate, but if it wasn't for 'aving the skipper for a brother-in-law 'e'd be called something else, very quick. Two or three times we've 'ad words over one thing and another, and the last time I called 'im something that I can see now was a mistake. It was one o' these 'ere clever things that a man don't forget, let alone a lop-sided monkey like 'im.

"That was when they was up time afore last, and when they made fast 'ere last week I could see as he 'adn't forgotten it. For one thing he pretended not to see me, and, arter I 'ad told him wot I'd do to him if 'e ran into me agin, he said 'e thought I was a sack o' potatoes taking a airing on a pair of legs wot somebody 'ad throwed away. Nasty tongue 'e's got; not clever, but nasty.

"Arter that I took no notice of 'im, and, o' course, that annoyed 'im more than anything. All I could do I done, and 'e was ringing the gate-bell that night from five minutes to twelve till ha'-past afore I heard it. Many a night-watchman gets a name for going to sleep when 'e's only getting a bit of 'is own back.

"We stood there talking for over 'arf-an-hour arter I 'ad let'im in. Leastways, he did. And whenever I see as he was getting tired I just said, 'H'sh!' and 'e'd start agin as fresh as ever. He tumbled to it at last, and went aboard shaking 'is little fist at me and telling me wot he'd do to me if it wasn't for the lor.

"I kept by the gate as soon as I came on dooty next evening, just to give 'im a little smile as 'e went out. There is nothing more aggravating than a smile when it is properly done; but there was no signs o' my lord, and, arter practising it on a carman by mistake, I 'ad to go inside for a bit and wait till he 'ad gorn.

"The coast was clear by the time I went back, and I 'ad just stepped outside with my back up agin the gate-post to 'ave a pipe, when I see a boy coming along with a bag. Good-looking lad of about fifteen 'e was, nicely dressed in a serge suit, and he no sooner gets up to me than 'e puts down the bag and looks up at me with a timid sort o' little smile.

"'Good evening, cap'n,' he ses.

"He wasn't the fust that has made that mistake; older people than 'im have done it.

"'Good evening, my lad,' I ses.

"'I s'pose,' he ses, in a trembling voice, 'I suppose you ain't looking out for a cabin-boy, sir?'

"'Cabin-boy?' I ses. 'No, I ain't.'

"'I've run away from 'ome to go to sea,' he ses, and I'm afraid of being pursued. Can I come inside?'

"Afore I could say 'No' he 'ad come, bag and all; and afore I could say anything else he 'ad nipped into the office and stood there with his 'and on his chest panting.

"'I know I can trust you,' he ses; 'I can see it by your face."

"'Wot 'ave you run away from 'ome for?' I ses. 'Have they been ill-treating of you?'

"'Ill-treating me?' he ses, with a laugh. 'Not much. Why, I expect my father is running about all over the place offering rewards for me. He wouldn't lose me for a thousand pounds.'

"I pricked up my ears at that; I don't deny it. Anybody would. Besides, I knew it would be doing him a kindness to hand 'im back to 'is father. And then I did a bit o' thinking to see 'ow it was to be done.

"'Sit down,' I ses, putting three or four ledgers on the floor behind one of the desks. 'Sit down, and let's talk it over.'

"We talked away for ever so long, but, do all I would, I couldn't persuade 'im. His 'ead was stuffed full of coral islands and smugglers and pirates and foreign ports. He said 'e wanted to see the world, and flying-fish.

"'I love the blue billers,' he ses; 'the heaving blue billers is wot I want.'

"I tried to explain to 'im who would be doing the heaving, but 'e wouldn't listen to me. He sat on them ledgers like a little wooden image, looking up at me and shaking his 'ead, and when I told 'im of storms and shipwrecks he just smacked 'is lips and his blue eyes shone with joy. Arter a time I saw it was no good trying to persuade 'im, and I pretended to give way.

"'I think I can get you a ship with a friend o' mine,' I ses; 'but, mind, I've got to relieve your pore father's mind—I must let 'im know wot's become of you.'

"'Not before I've sailed,' he ses, very quick.

"'Certingly not,' I ses. 'But you must give me 'is name and address, and, arter the Blue Shark—that's the name of your ship—is clear of the land, I'll send 'im a letter with no name to it, saying where you ave gorn.'

"He didn't seem to like it at fust, and said 'e would write 'imself, but arter I 'ad pointed out that 'e might forget and that I was responsible, 'e gave way and told me that 'is father was named Mr. Watson, and he kept a big draper's shop in the Commercial Road.

"We talked a bit arter that, just to stop 'is suspicions, and then I told 'im to stay where 'e was on the floor, out of sight of the window, while I went to see my friend the captain.

"I stood outside for a moment trying to make up my mind wot to do. O'course, I 'ad no business, strictly speaking, to leave the wharf, but, on the other 'and, there was a father's 'art to relieve. I edged along bit by bit while I was thinking, and then, arter looking back once or twice to make sure that the boy wasn't watching me, I set off for the Commercial Road as hard as I could go.

"I'm not so young as I was. It was a warm evening, and I 'adn't got even a bus fare on me. I 'ad to walk all the way, and, by the time I got there, I was 'arf melted. It was a tidy-sized shop, with three or four nice-looking gals behind the counter, and things like babies' high chairs for the customers to sit onlong in the leg and ridikerlously small in the seat. I went up to one of the gals and told Per I wanted to see Mr. Watson.

"'On private business,' I ses. 'Very important.'

"She looked at me for a moment, and then she went away and fetched a tall, bald-headed man with grey side-whiskers and a large nose.

"'Wot d'you want?" he ses, coming up to me.

I want a word with you in private,' I ses.

"'This is private enough for me,' he ses. 'Say wot you 'ave to say, and be quick about it.'

"I drawed myself up a bit and looked at him. 'P'r'aps you ain't missed 'im yet,' I ses.

"'Missed 'im?' he ses, with a growl. 'Missed who?'

"'Your-son. Your blue-eyed son,' I ses, looking 'im straight in the eye.

"'Look here!' he ses, spluttering. 'You be off. 'Ow dare you come here with your games? Wot d'ye mean by it?'

"'I mean,' I ses, getting a bit out o' temper, 'that your boy has run away to go to sea, and I've come to take you to 'im.'

"He seemed so upset that I thought 'e was going to 'ave a fit at fust, and it seemed only natural, too. Then I see that the best-looking girl and another was having a fit, although trying 'ard not to.

"'If you don't get out o' my shop,' he ses at last, 'I'll 'ave you locked up.'

"'Very good!' I ses, in a quiet way. 'Very good; but, mark my words, if he's drownded you'll never forgive yourself as long as you live for letting your temper get the better of you—you'll never know a good night's rest agin. Besides, wot about 'is mother?'

"One o' them silly gals went off agin just like a damp firework, and Mr. Watson, arter nearly choking 'imself with temper, shoved me out o' the way and marched out o' the shop. I didn't know wot to make of 'im at fust, and then one o' the gals told me that 'e was a bachelor and 'adn't got no son, and that somebody 'ad been taking advantage of what she called my innercence to pull my leg.

"'You toddle off 'ome,' she ses, 'before Mr. Watson comes back.'

"'It's a shame to let 'im come out alone,' ses one o' the other gals. 'Where do you live, gran'pa?'

"I see then that I 'ad been done, and I was just walking out o' the shop, pretending to be deaf, when Mr. Watson come back with a silly young policeman wot asked me wot I meant by it. He told me to get off 'ome quick, and actually put his 'and on my shoulder, but it 'ud take more than a thing like that to push me, and, arter trying his 'ardest, he could only rock me a bit.

"I went at last because I wanted to see that boy agin, and the young policeman follered me quite a long way, shaking his silly 'ead at me and telling me to be careful.

"I got a ride part o' the way from Commercial Road to Aldgate by getting on the wrong bus, but it wasn't much good, and I was quite tired by the time I got back to the wharf. I waited outside for a minute or two to get my wind back agin, and then I went in-boiling.

"You might ha' knocked me down with a feather, as the saying is, and I just stood inside the office speechless. The boy 'ad disappeared and sitting on the floor where I 'ad left 'im was a very nice-looking gal of about eighteen, with short 'air, and a white blouse.

"'Good evening, sir,' she ses, jumping up and giving me a pretty little frightened look. 'I'm so sorry that my brother has been deceiving you. He's a bad, wicked, ungrateful boy. The idea of telling you that Mr. Watson was 'is father! Have you been there? I do 'ope you're not tired.'

"'Where is he?' I ses.

"'He's gorn,' she ses, shaking her 'ead. 'I begged and prayed of 'im to stop, but 'e wouldn't. He said 'e thought you might be offended with 'im. "Give my love to old Roley-Poley, and tell him I don't trust 'im," he ses.'

"She stood there looking so scared that I didn't know wot to say. By and by she took out 'er little pocket-'ankercher and began to cry—

"'Oh, get 'im back,' she ses. 'Don't let it be said I follered 'im 'ere all the way for nothing. Have another try. For my sake!'

"''Ow can I get 'im back when I don't know where he's gorn?' I ses.

"'He-he's gorn to 'is godfather,' she ses, dabbing her eyes. 'I promised 'im not to tell anybody; but I don't know wot to do for the best.'

"'Well, p'r'aps his godfather will 'old on to 'im,' I ses.

"'He won't tell 'im anything about going to sea,' she ses, shaking 'er little head. 'He's just gorn to try and bo—bo-borrow some money to go away with.'

"She bust out sobbing, and it was all I could do to get the godfather's address out of 'er. When I think of the trouble I took to get it I come over quite faint. At last she told me, between 'er sobs, that 'is name was Mr. Kiddem, and that he lived at 27, Bridge Street.

"'He's one o' the kindest-'arted and most generous men that ever lived,' she ses; 'that's why my brother Harry 'as gone to 'im. And you needn't mind taking anything 'e likes to give you; he's rolling in money.'

"I took it a bit easier going to Bridge Street, but the evening seemed 'otter than ever, and by the time I got to the 'ouse I was pretty near done up. A nice, tidy-looking woman opened the door, but she was a' most stone deaf, and I 'ad to shout the name pretty near a dozen times afore she 'eard it.

"'He don't live 'ere,' she ses.

"''As he moved?' I ses. 'Or wot?'

"She shook her 'cad, and, arter telling me to wait, went in and fetched her 'usband.

"'Never 'eard of him,' he ses, 'and we've been 'ere seventeen years. Are you sure it was twenty-seven?'

"'Sartain,' I ses.

"'Well, he don't live 'ere,' he ses. 'Why not try thirty-seven and forty-seven?'

"I tried'em: thirty-seven was empty, and a pasty-faced chap at forty- seven nearly made 'imself ill over the name of 'Kiddem.' It 'adn't struck me before, but it's a hard matter to deceive me, and all in a flash it come over me that I 'ad been done agin, and that the gal was as bad as 'er brother.

"I was so done up I could 'ardly crawl back, and my 'ead was all in a maze. Three or four times I stopped and tried to think, but couldn't, but at last I got back and dragged myself into the office.

"As I 'arf expected, it was empty. There was no sign of either the gal or the boy; and I dropped into a chair and tried to think wot it all meant. Then, 'appening to look out of the winder, I see somebody running up and down the jetty.

"I couldn't see plain owing to the things in the way, but as soon as I got outside and saw who it was I nearly dropped. It was the boy, and he was running up and down wringing his 'ands and crying like a wild thing, and, instead o' running away as soon as 'e saw me, he rushed right up to me and threw 'is grubby little paws round my neck.

"'Save her!' 'e ses. 'Save 'er! Help! Help!'

"'Look 'ere,' I ses, shoving 'im off.

"'She fell overboard,' he ses, dancing about. 'Oh, my pore sister! Quick! Quick! I can't swim!'

"He ran to the side and pointed at the water, which was just about at 'arf-tide. Then 'e caught 'old of me agin.

"'Make 'aste,' he ses, giving me a shove behind. 'Jump in. Wot are you waiting for?'

"I stood there for a moment 'arf dazed, looking down at the water. Then I pulled down a life-belt from the wall 'ere and threw it in, and, arter another moment's thought, ran back to the Lizzie and Annie, wot was in the inside berth, and gave them a hail. I've always 'ad a good voice, and in a flash the skipper and Ted Sawyer came tumbling up out of the cabin and the 'ands out of the fo'c'sle.

"'Gal overboard!' I ses, shouting.

"The skipper just asked where, and then 'im and the mate and a couple of 'ands tumbled into their boat and pulled under the jetty for all they was worth. Me and the boy ran back and stood with the others, watching.

"'Point out the exact spot,' ses the skipper.

"The boy pointed, and the skipper stood up in the boat and felt round with a boat-hook. Twice 'e said he thought 'e touched something, but it turned out as 'e was mistaken. His face got longer and longer and 'e shook his 'ead, and said he was afraid it was no good.

"'Don't stand cryin' 'ere,' he ses to the boy, kindly. 'Jem, run round for the Thames police, and get them and the drags. Take the boy with you. It'll occupy 'is mind.'

"He 'ad another go with the boat-hook arter they 'ad gone; then 'e gave it up, and sat in the boat waiting.

"'This'll be a bad job for you, watchman,' he ses, shaking his 'ead. 'Where was you when it 'appened?'

"'He's been missing all the evening,' ses the cook, wot was standing beside me. 'If he'd been doing 'is dooty, the pore gal wouldn't 'ave been drownded. Wot was she doing on the wharf?'

"'Skylarkin', I s'pose,' ses the mate. 'It's a wonder there ain't more drownded. Wot can you expect when the watchman is sitting in a pub all the evening?'

"The cook said I ought to be 'ung, and a young ordinary seaman wot was standing beside 'im said he would sooner I was boiled. I believe they 'ad words about it, but I was feeling too upset to take much notice.

"'Looking miserable won't bring 'er back to life agin,' ses the skipper, looking up at me and shaking his 'ead. 'You'd better go down to my cabin and get yourself a drop o' whisky; there's a bottle on the table. You'll want all your wits about you when the police come. And wotever you do don't say nothing to criminate yourself.'

"'We'll do the criminating for 'im all right,' ses the cook.

"'If I was the pore gal I'd haunt 'im,' ses the ordinary seaman; 'every night of 'is life I'd stand afore 'im dripping with water and moaning.'

"'P'r'aps she will,' ses the cook; 'let's 'ope so, at any rate.'

"I didn't answer 'em; I was too dead-beat. Besides which, I've got a 'orror of ghosts, and the idea of being on the wharf alone of a night arter such a thing was a'most too much for me. I went on board the Lizzie and Annie, and down in the cabin I found a bottle o' whisky, as the skipper 'ad said. I sat down on the locker and 'ad a glass, and then I sat worrying and wondering wot was to be the end of it all.

"The whisky warmed me up a bit, and I 'ad just taken up the bottle to 'elp myself agin when I 'eard a faint sort o' sound in the skipper's state-room. I put the bottle down and listened, but everything seemed deathly still. I took it up agin, and 'ad just poured out a drop o' whisky when I distinctly 'eard a hissing noise and then a little moan.

"For a moment I sat turned to stone. Then I put the bottle down quiet, and 'ad just got up to go when the door of the state-room opened, and I saw the drownded gal, with 'er little face and hair all wet and dripping, standing before me.

"Ted Sawyer 'as been telling everybody that I came up the companion-way like a fog-horn that 'ad lost its ma; I wonder how he'd 'ave come up if he'd 'ad the evening I had 'ad?

"They were all on the jetty as I got there and tumbled into the skipper's arms, and all asking at once wot was the matter. When I got my breath back a bit and told 'em, they laughed. All except the cook, and 'e said it was only wot I might expect. Then, like a man in a dream, I see the gal come out of the companion and walk slowly to the side.

"'Look!' I ses. 'Look. There she is!'

"'You're dreaming,' ses the skipper, 'there's nothing there.'

"They all said the same, even when the gal stepped on to the side and climbed on to the wharf. She came along towards me with 'er arms held close to 'er sides, and making the most 'orrible faces at me, and it took five of'em all their time to 'old me. The wharf and everything seemed to me to spin round and round. Then she came straight up to me and patted me on the cheek.

"'Pore old gentleman,' she ses. 'Wot a shame it is, Ted! It's too bad.'

"They let go o' me then, and stamped up and down the jetty laughing fit to kill themselves. If they 'ad only known wot a exhibition they was making of themselves, and 'ow I pitied them, they wouldn't ha' done it. And by and by Ted wiped his eyes and put his arm round the gal's waist and ses—

"'This is my intended, Miss Florrie Price,' he ses. 'Ain't she a little wonder? Wot d'ye think of 'er?'

"'I'll keep my own opinion,' I ses. 'I ain't got nothing to say against gals, but if I only lay my hands on that young brother of 'ers'

"They went off agin then, worse than ever; and at last the cook came and put 'is skinny arm round my neck and started spluttering in my ear. I shoved 'im off hard, because I see it all then; and I should ha' seen it afore only I didn't 'ave time to think. I don't bear no malice, and all I can say is that I don't wish 'er any harder punishment than to be married to Ted Sawyer."

*** END OF THE PROJECT GUTENBERG EBOOK MANNERS MAKYTH MAN ***

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

THE FULL PROJECT GUTENBERG 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.

Table of Contents

- BOOK 12

- ILLUSTRATIONS

- FROM DRAWINGS BY WILL OWEN

- "MANNERS MAKYTH MAN"

- THE FULL PROJECT GUTENBERG LICENSE