Project Gutenberg's The Saturday Magazine, No. 66, July 1833, by Various 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'll have to check the laws of the country where you are located before using this ebook. Title: The Saturday Magazine, No. 66, July 1833 Author: Various Release Date: November 22, 2016 [EBook #53577] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK THE SATURDAY MAGAZINE, JULY 1833 *** Produced by Markus Brenner, David Maranhao and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) The Saturday Magazine. N^o 66. JULY 13^{th}, 1833. { PRICE { ONE PENNY. ------------------------------------------------------------------------ UNDER THE DIRECTION OF THE COMMITTEE OF GENERAL LITERATURE AND EDUCATION, APPOINTED BY THE SOCIETY FOR PROMOTING CHRISTIAN KNOWLEDGE. ------------------------------------------------------------------------ [Illustration: LICHFIELD CATHEDRAL.] VOL. III. ------------------------------------------------------------------------ LICHFIELD CATHEDRAL. The first authentic mention of Lichfield occurs in Bede’s Ecclesiastical History, where it is alluded to as the See of an Anglo-Saxon Bishop. The name is of Saxon origin, but its etymology has been much disputed. In the Saxon Chronicle the word is written _Licetfeld_; in Bede, _Lyccetfelth_ and _Licitfeld_. Some etymologists derive its signification from _leccian_, to water (and it is well known to have abounded in numerous lakes and pools); others, from the verb _licean_ or _lician_, to like, or to be agreeable, and therefore make it to signify Pleasant Field. It has however been more frequently allowed to be derived from _lic_, a dead body, and consequently as signifying _cadaverum campus_, the Field of Dead Bodies. This derivation is supported by a prevailing tradition, of the martyrdom of a thousand British Christians on this spot, at the time of the persecution (A. D. 303) under Dioclesian, when Maximian was governor of Britain. It is certain that the present diocese of Lichfield and Coventry, anciently formed a part of the kingdom of Mercia, which, being conquered by (the _Christian King_) Oswy, introduced the Christian faith into this powerful kingdom of the Saxon Heptarchy. He made Lichfield an episcopal See, by appointing Diuma, a Scotsman, the first Bishop, A. D. 656. After a succession of three others, the famous Ceadda, or Chad, was raised to the Bishopric A. D. 667. Bede informs us, that “he had built himself an habitation not far removed from the church; wherein he was wont to pray, and read with a few, that is, seven or eight, of the brethren, as often as he had any spare time from the labour and ministry of the word.” From this period, little is known of the history of the See till after the Norman Conquest, when at the National Council held in London, A. D. 1075, it was determined to remove the See of Lichfield to Chester, which was done by Peter (the first bishop appointed by William the Conqueror), who went by the appellation of Bishop of Chester and Lichfield. Robert de Lymesey was his successor, and removed the See to Coventry, having obtained from the King, the custody of that Abbey (originally founded by Canute); this edifice having been restored and greatly enriched by Leofric, Earl of Hereford, and his celebrated wife Lady Godiva. Robert Peeke, chaplain to Henry the First, was consecrated to this See, A. D. 1117, and was succeeded, 1128, by Roger de Clinton, who was a liberal benefactor both to the city and Cathedral church of Lichfield. He is said to have rebuilt great part at the latter, to have increased the number of Prebendaries, and to have appointed the first Canons. De Clinton restored the See to Lichfield, and styled himself Bishop of Lichfield and Coventry. Until the establishment of Chester as a separate See, A. D. 1542, the succeeding bishops were indifferently called Bishops of Lichfield, Coventry, and Chester, having an episcopal residence at each place. Coventry and Lichfield was the usual designation till Bishop Hacket, on the restoration of the monarchy, placed Lichfield before Coventry, as a compliment to the loyalty of the former place. Walter de Langton succeeded to the See in 1295, and did much benefit to the city, forming streets, causeways, &c.; he augmented the income of the Vicars, expended 2000_l._ on a shrine for St. Chad, and rebuilt the Bishop’s Palace, giving the old episcopal house to the Vicars Choral. In the time of Henry the Eighth, the Cathedral became a prey to depredation; its ornaments, statues, shrines, and all other valuable articles were converted to the use of the crown, with the exception of the shrine of St. Ceadda; this was saved by the intercession of the Bishop, Rowland Lea, who obtained it from the King. This prelate earnestly endeavoured to save the monastery of Coventry, and its fine church, from spoliation, but in this his labour was fruitless, and they were entirely demolished. Little of interest occurs afterwards in the historical details of Lichfield, till the commencement of the civil wars. In 1642, a troop was raised for King Charles by Sir Richard Dyott, Kt.: during this time the Close sustained three sieges, by which the Cathedral was greatly injured. Preparations to considerable extent were made, 1643, to defend the Close against Lord Brooke, and three thousand troops. This nobleman was a zealous opposer of episcopacy, and had determined on the complete destruction of the Cathedral; on his _approach_ to Lichfield he prayed that he might be annihilated if his cause were unjust; on his _return_ from placing his artillery, he was shot by a brace of bullets, discharged by a deaf and dumb gentleman, of the name of Dyott, who had watched Lord Brooke’s motions from the top of the cathedral. Lord Brooke’s body was removed to Warwick to be buried with his ancestors; the armour worn by him on this fatal day, and his doublet stained with blood, are in the armoury at Warwick Castle. The gun with which he was killed remains in possession of the Dyott family, resident near Lichfield. Notwithstanding the check given to the rebels by the death of their leader, the garrison could not long stand the siege, and were constrained to yield to the Parliamentary forces. This was the first cathedral which surrendered to them, and every species of havoc and profanation was committed by these miscreants. The soldiers belonging to the King’s party were imprisoned in the Cathedral three days and four nights without food, except what could privately be obtained, and the inclemency of the season obliged them to convert the seats and desks into fuel. At this period the venerable pile became one scene of desolation, the centre spire was battered down, the costly monuments destroyed, and amongst others, that of Lord Paget, sculptured in Italy at the enormous expense of 700_l._ Dugdale says, “courts of guard were kept in the aisles; they broke up the pavement, every day hunted a cat with hounds throughout the Church, delighting themselves in the echo from the goodly vaulted roof, and to add to their wickedness, brought a calf into it wrapt in linen, carried it to the font, sprinkled it with water, and gave it a name in scorn and derision of that holy sacrament, Baptism; and when Prince Rupert recovered that Church by force, Colonel Russel, the governor, carried away the communion-plate and linen, with whatsoever else was of value.” The Close was retaken by Prince Rupert in 1643, and Colonel Hawey Bagot was appointed Governor of the garrison; he had the honour of entertaining Charles the First, after the battle of Naseby, when his majesty left Ashby-de-la-Zouch, and slept at Governor Bagot’s, in Lichfield, on the 15th of June 1645; this unfortunate monarch twice afterwards revisited this city; but short was its period of tranquillity, for in 1646, the Close was again taken by the Parliamentary forces, under Sir William Brereton, and its walls dismantled. In 1651, by authority of the Rump Parliament, men were employed to strip off the lead from the roof of the Cathedral, and break in pieces the Bells[1]. It may not be uninteresting to remark on the heavy afflictions, or violent deaths, suffered by many of the spoliators of the Church of those days; among others, Colonel Danvers who stripped the roof, and Pickings who demolished the bells, met with untimely ends. We find that although the building was in this dilapidated state, its ministers did not neglect their duties, and Ashmole has the following memorandum. “This morning Mr. Rawlings of Lichfield told me, that the vicars of the Cathedral had entered the Chapter-house, and there said service; that this, with the Vestry, was the only place in the church that had a roof to shelter them.” On the Restoration, Dr. John Hacket was happily appointed prelate: he found the church little better than a heap of ruins, but, zealous in the cause of religion, he immediately set to work with an activity rarely equalled. The morning after his arrival, he employed his own coach horses to remove the rubbish, and took the most vigorous measures to obtain assistance; petitioning from house to house for pecuniary aid, and being himself a liberal benefactor. By his unwearied diligence and munificence, the Cathedral in the space of eight years had nearly regained its original splendour, and was re-consecrated in 1669. The intrepid character of this admirable man may be shown by the following anecdote.—Hacket was preaching in London, during the persecution of the established Church, and although the Liturgy was proscribed, under a severe penalty, he continued the use of it; at length, an armed sergeant and trooper were sent to the church to compel his obedience, but he, with a firm voice and unintimidated manner, read the service as he was wont to do; and when the soldiers, placing a pistol at his head, threatened him with instant death, he calmly replied, “Soldiers, I am doing my duty, do you do yours!” then with a voice equally composed, he resumed the prayers. The soldiers, awe-struck by his pious courage, left the church in astonishment! From Bishop Hacket’s time, the Cathedral underwent little alteration till the year 1788, when the building being acknowledged to be in a very dilapidated state, subscriptions were raised to repair and renovate it. Under the direction of Mr. Wyatt, the external structure was put in good order, and the internal decorations restored and embellished. The beauty and magnificence of the edifice has since been greatly enhanced, by the addition of some painted windows, from the dissolved Abbey of Herckenrode in Germany: this valuable purchase was obtained by the Dean and Chapter, through the liberality of the late Sir Brooke Boothby, who made the acquisition when travelling on the Continent, for the small sum of 200_l._, and generously transferred to them his bargain, estimated at 10,000_l._ These windows were painted at the period when the art had attained its highest degree of perfection, and are considered by connoisseurs as very valuable and choice specimens. Several modern windows of superior merit, have also been inserted, by the present Dean, Dr. Woodhouse, and others interested in the embellishment of the venerable pile. The large window at the west, which had been totally destroyed during the civil wars, and restored by James the Second when Duke of York, has been filled with painted glass, from a legacy of Dr. Addenbroke, who died Dean of this Cathedral, in 1776. Although this Cathedral cannot compete in size and magnificence with York and some others, in point of elegance it is inferior to none, and its light and beautiful architecture is the theme of universal admiration. The building is in form of a cross, having a large spire at the intersection of the cross, and two smaller ones at the west end; the pyramidal form of the western façade, enriched with highly wrought decorations and tracery, is eminently beautiful; neither must the centre porch be forgotten, being no less worthy of notice. The external length of the church is 400 feet, and the breadth in the transept 187 feet. The Nave and Aisles are good specimens of the simple yet exquisite taste of the architecture of the thirteenth and fourteenth centuries; the clustered columns, delicately moulded arches, and vaulted roof, impress the beholder with a solemn and pleasing effect. Amongst the numerous monuments, we must give the first place to that of the Cathedral’s greatest benefactor, the good and pious Bishop Hacket: it consists of a recumbent figure, and at the head is engraved the following appropriate inscription; “I will not suffer mine eyes to sleep, till I have found out a place for the temple of the Lord.” But the monument which attracts the eager attention of all admirers of the sculptorial art, is that erected to the memory of the two Miss Robinsons; it is considered a _chef-d’œuvre_ of Chantrey’s, and certainly has rarely been equalled for beauty of design and workmanship. The remains of many celebrated characters are recorded within these walls—that colossus of literature, Dr. Johnson, justly the pride and boast of Lichfield: Lady Mary Wortley Montague, who so greatly benefited mankind by the introduction of the art of Inoculation. Gilbert Walmesley, Dr. Smalbroke, Dean Addison, David Garrick, and Andrew Newton, who founded and endowed the noble institution in the Close, for the widows and orphans of Clergy; for this purpose, he gave, by will and donation, the sum of forty thousand pounds. The Diocese of Lichfield and Coventry, was in early times of very great extent; it is now much more limited, but contains the whole county of Stafford (except Brome and Clent, which belong to Worcester), all Derbyshire, the greater part of Warwickshire, and nearly half of Shropshire. It has the Archdeaconries of Salop, Coventry, Stafford and Derby. In the reign of King John, permission was granted to the Bishop of Lichfield and Coventry to build a castle at Eccleshall, and this has generally been, as it now is, the residence of the Bishop. There is also a palace in Lichfield belonging to the See; the present one was erected in 1687, by Bishop Wood, on the ground occupied by the garden of Langton’s Palace (of which there are no remains), and was built in compliance with an order from Archbishop Sancroft, as compensation for damage committed upon property belonging to the See. Lichfield being situated on the road between London and Liverpool (now so much the line of communication with our sister country), is much frequented by travellers; and few places are more interesting to the lover of literature, having been either the natal spot, or home, of so many distinguished for learned attainments. Every one capable of appreciating the profound wisdom and moral energy of Johnson, must feel a reverence and respect for the place where he first drew breath. Thomas Newton, Bishop of Bristol, brother to Andrew Newton, whom we have already mentioned, and the learned author of _Dissertations on the Prophecies_, was a native of this city; as was also that famous virtuoso, Elias Ashmole, the contributor of a valuable collection of curiosities and MSS. to the University of Oxford, now assembled in the Ashmolean Museum. Here was the paternal residence of that elegant scholar, Addison; and in addition to the names already brought forward, Lichfield could boast amongst its inhabitants the eccentric James Day, author of _Sandford and Merton_, Mr. and Miss Edgeworth, Dr. Darwin, of botanical celebrity, and several others of highly esteemed intellectual powers. [Illustration: WOODCROFT HOUSE, NORTHAMPTONSHIRE.] WOODCROFT HOUSE, Of which we furnish a view from the pencil of Mr. Blore, is situated in the parish of Etton, in Northamptonshire, about four miles from the city of Peterborough. This building well deserves notice as an early and perfect specimen of English domestic architecture. The form of the windows is peculiar to the time of the first two Edwards, and the character of the mouldings evidently points out that period, as the date of its erection. The masonry is remarkably well executed, and the mouldings beautifully worked; those forming the finish of the Tower, over the entrance, are distinguished by a boldness rarely to be met with. Originally, this must have been a place of some strength; it was surrounded by water, excepting at the western approach, and the walls are four feet in thickness. Though nothing remains of an embattled parapet, there can be little doubt but that it possessed such provision for defence, and that in this, as in other respects, it partook of the character of the mansion-houses of the age. The round bastion at the north end, represented in the drawing, is that portion of the building to which an interesting historical incident is attached; one of those events, which are the melancholy, and certain fruits of anarchy and civil war. Dr. Michael Hudson, who is styled by Wood, “an understanding and sober person, and of great fidelity,” was, from his sincerity, called by King Charles the First, his “plain-dealing Chaplain.” When the troubles of that period commenced, Hudson, like some others of his profession, left his benefice, under an impression that his monarch demanded his personal aid; and King Charles having, as we are told, “an especial respect for his signal loyalty and courage,” intrusted him with some important secrets, as regarded his own proceedings. Hudson proved himself a courageous soldier, but, being apprehended by the Parliamentary forces, he suffered a tedious confinement. Escaping from his prison in London, he joined a body of royalists, who had fled to Woodcroft House. When attacked there by the Parliamentary forces, Hudson, with some of his bravest soldiers, went up to the battlements, where they defended themselves for some time. At length they yielded, upon the promise of quarter; but when the rebels were admitted, they broke their engagement. Hudson was forced over the battlements, and clung to one of the stone spouts represented in the drawing. His hands being either actually cut off, or severely hacked and bruised by the sabres of the soldiers, he quitted his hold and fell into the moat underneath, desiring only to reach the land and die there; but this miserable boon was denied him, as, in attempting to reach the bank, he was knocked on the head with the but-end of a musket, and drowned[2]. May we never, by God’s blessing, witness a recurrence of the scenes which were presented at this eventful period of our history! Our great dramatic poet, who showed his patriotism, by always giving to his countrymen the wisest counsel, and encouraging correct sentiments respecting justice and good government, thus beautifully describes a kingdom, restored to the blessings of internal tranquillity. No more shall trenching war channel her fields, Nor bruise her flow’rets with the armed hoofs Of hostile paces: those opposed eyes, Which, like the meteors of a troubled heaven, _All of one nature, of one substance bred_, Did lately meet in the intestine shock And furious close of civil butchery, Shall now, in mutual, well-beseeming ranks, March all one way; and be no more oppos’d _Against acquaintance, kindred, and allies_; The edge of war, like an ill-sheathed knife, No more shall cut his master.—_Henry IV._, Part I. H. M. SYMBOLICAL WRITING. It would seem that the earliest of all written language consisted of actual drawings of the forms of animals or things; rudely sketched, indeed, by the hands of our rude forefathers, but sufficiently plain to mark the object designed. This mode appears the more natural, because the representation of sounds, which express the names of things, by certain characters or alphabets, which is the mode now most extensively in use, must necessarily require some previous concert between two parties, the one of whom suggests, and the other agrees, that a particular mark or form on paper shall be the symbol for a particular sound. But if we suppose a savage separated from his friend, and wishing to communicate with him, without having had this previous consultation, and supposing that he has lent his distant acquaintance some articles of furniture, such as his bow and arrows, or his knife, which he is anxious to have returned, without the knowledge of his messenger, it seems highly probable, that his first impulse would be to make a rude sketch of these articles, and transmit the impression to his friend. Were the latter an acute man he would probably understand the allusion; and, were he not intelligent enough for this purpose, it is clear he would not be nearly sufficiently so to comprehend the symbols to denote sounds. So that the simplicity of this mode of writing might suggest the probability of its being the first resorted to, without alluding to the hieroglyphics yet remaining on the Egyptian tombs, which, from our want of acquaintance with the manners, customs, and general objects with which the Egyptians were conversant, are very difficult to decipher, if we may judge from the learning expended in explaining them. As a modern specimen of this kind of writing, it may not be uninteresting to describe a letter which M. Martinez received from an inhabitant of the Caroline Islands, in the Eastern Ocean. The following is the drawing of the letter alluded to, and the description is taken from FREYCINET and ARAGO’S _Voyage_. [Illustration] “This was written to M. Martinez, at Rotta, who had commissioned a Tamor of Sathoual to send him some shells, promising in exchange a few pieces of iron. The captain gave him the sheet of paper, the original of which is in my possession, and is in red characters. The figure at the top of the letter was placed there as the bearer of compliments: the branch under him is the type of peace and amity: the marks in the column on the left hand indicate the sort of shells the Carolinian had sent to M. Martinez. In the column on the right, are placed the objects he desired in exchange; namely, three large fishing hooks, four small ones, two pieces of iron of the shape of axes, and two pieces a little longer.” This curiously-expressed request was gratified, and many handsome shells obtained in return. This is, perhaps, as clear an instance as can be found, of the mode in which an unlettered people would endeavour to convey the expression of their wishes to their friends at a distance, and forms a striking contrast to the elegant though complicated process of our own method of writing. In the written language of the Chinese, a great proof of its having originated in this picture-writing, may yet be seen by a little attention to the forms of their characters, and is, perhaps, the only language now generally in practice, in which these early symbols are discernible, though some have attempted to explain the Hebrew language in the same way, by maintaining that the letters composing the Alphabet were at first characters or drawings of things. In the modern Chinese, however, much of the early rude formation of the characters has been altered, arising, probably, in some degree, from a greater improvement in taste inducing the nation to alter these rough to more elegant forms, and partly from the facility of writing requiring the scribe, in some cases, to strike off, and in others to connect, various parts of the original figure. Thus, the present Chinese character for ‘a man,’ is [Illustration] which was originally drawn [Illustration] or [Illustration] or [Illustration]; here it is plain that, by lopping off some of the limbs of this rude representative of the human species, we leave something like the form of the present character, though it would appear, that a long succession of ages must have polished the rough material to the improved shape which it now possesses. Again, the character to denote ‘the ear,’ was formerly drawn [Illustration] which is now softened into the present form, thus [Illustration]. ‘A range of hills,’ or ‘mound,’ at first drawn [Illustration] has now become [Illustration]. ‘The sun,’ [Illustration] is now [Illustration]. The reader’s ingenuity may be exercised and amused, and he will be enabled to see how far the preceding remarks are well-grounded, if we present him with a few of the original drawings, placed side by side with the characters into which they have been gradually altered, and which are now in general use. The numbers one, two, three, and four, remain the same, being the simplest form which can be devised, to maintain the connexion of the drawing with the idea conceived. [Illustration] One, [Illustration] Two, [Illustration] Three, [Illustration] Four. Ancient form. Present character. [Illustration] the human face. [Illustration] [Illustration] the moon. [Illustration] [Illustration] rain. [Illustration] [Illustration] the eye. [Illustration] [Illustration] an arrow. [Illustration] [Illustration] the mouth. [Illustration] [Illustration] the tongue in the [Illustration] midst of the mouth. [Illustration] the teeth. [Illustration] In order to save a multiplicity of characters, a single one is often placed in various positions, to convey ideas which it would be very difficult, and often impossible, to express by a simple drawing of the object: for instance, how could the idea of ‘a corpse’ be represented on paper; the figure of a man, it is easily seen, is not sufficient, since we cannot tell, from looking at a picture so unfinished as the rapidity of writing would demand, whether the breath be in or out of the body; they, therefore, take the figure for man we have before seen, and lay it prostrate, thus [Illustration]. The figure to represent a rock [Illustration] is supposed to imply a rock jutting over, and affording shelter, and from this was formed the following to denote ‘a stone,’ [Illustration], that is, as it were, a portion cut out of the rock; hence, to imply a heap of stones, the form [Illustration] would readily suggest itself. On the same principle it would be very difficult to describe hail in a sketch; but, by considering it (if we may be allowed the term) as hardened water, they add to the character denoting rain the appearance of solid drops falling; thus, ‘rain’ is expressed by [Illustration] and ‘hail’ thus [Illustration]. In representing the forms of animals, or things, no further accomplishment was necessary than accuracy of eye, and skill in delineating the various shapes; but much greater ingenuity is required in order to represent intangible or invisible substances, such as light, air, &c., or the qualities of things which we call by the term adjectives, such as those implying strength, weakness, or various actions, as to walk, to stop, to eat, to desire, &c., in fact, all kinds of verbs. This difficult matter is generally accomplished by the union of two or more simple forms, placed together in such a way, that their combination may suggest the idea required. To express brightness, the figures of the ‘sun’ and ‘moon’ are placed together [Illustration]. In the character which they employ to denote the adjective ‘aspiring,’ a man’s breath is represented as going out of the body and ascending [Illustration]. To hanker after or desire earnestly, is represented by this character of breath combined with water, corresponding, in fact, with our somewhat common phrase ‘mouth-watering’ [Illustration]. The rather difficult character of a king is described by ‘one,’ [Illustration]; and the character for land [Illustration], or united [Illustration], implying the feudal idea of sovereignty, all the land belonging to one. The adverbs ‘above’ and ‘below’ are very simply expressed, the former being [Illustration], and the latter [Illustration]. Crafty and intriguing finds its corresponding character in the little crooked symbol [Illustration]. The idea of a family is very happily and prettily expressed by the symbol of a ‘house,’ under which three human beings are sheltered [Illustration]. Many more instances, and some very remarkable ones, might be adduced of this mode of representing complex ideas, by the union of two or more characters for simple objects. In fact, most of the words, perhaps, in common use in Chinese writing, might be divided, and subdivided, till the original simple ideas had been traced out, and the reason of their formation distinctly shown; but the progress of time and refinement, has so moulded and altered even the most simple characters in the language, that considerable research would be required to perform such a task so many ages after their original formation. The inventor of this species of writing amongst this singular nation is said to be Tsang-hëĕ, of whom tradition or invention has preserved the portrait; and, in order to convey to the mind of the spectator some idea of his depth of intellect, and extent of mental vision, they have expressly chosen to represent him as enjoying the privilege of _four_ eyes, instead of the number possessed by ordinary mortals. S. B. INTEMPERANCE. The histories of all nations show that, in the infancy of society, man has few wants. Food for the sustenance of life, clothing for the covering of his person, and a habitation to shelter him from the wind and the storm, form the chief objects of his desire; and these he is easily enabled to supply from the rich storehouse of nature, which the bountiful Creator has furnished for his use. The earth has never ceased to reward the industry of man; and his daily necessities being thus provided for, his future worldly wants occupy but a small share of his thoughts. As mankind multiply and associate together in cities and towns, their attention is directed to other means of procuring the necessaries of life. Trade, manufactures, and commerce offer ample opportunities for the exercise of talent and industry; and the simplicity and contentment of rural life are exchanged for a more artificial state of society. The accumulation of property henceforth becomes an object of general pursuit, and the busy mind of man is occupied in forming and digesting plans to ensure such a result. Should prosperity attend his undertakings, and crown his labours with increase, he will not be slow in acquiring a taste for additional comfort and enjoyment, which his improved circumstances have placed within his reach. Thus the wants of man increase with his means of satisfying them. They are no longer confined to the simple necessaries of life, but embrace those elegancies and luxuries which owe their origin to the increase of wealth, the refinement of education, and the intercourse of society. Surplus capital thus finds ample and ready means of occupation in ministering to the growing wants of the community. Various trades, arts and professions are introduced, which open up new sources of employment; a stimulus is given to industry, and the powers of the mind are brought into operation to diffuse information and instruction through the land. Thus national wealth, education, and refinement advance together; and the riches which found entrance in one direction, find their way, through various channels, to every ramification of society, as the blood which flows from the heart circulates through every part of the human system. So long as surplus wealth thus extends, and promotes a nation’s prosperity, it is legitimately employed. But there are certain limits within which it ought to be confined. The morality, intelligence, and industry of the people are the bulwarks of national greatness; and if, by the introduction of any article of luxury or common diet, these barriers are weakened or thrown down, and the flood-gates of immorality, ignorance, and idleness opened, their dark tide will begin to flow, and threaten the best interests of the country. This result is shown by the histories of all those nations which reached the summit of wealth and power by the exercise of temperance, and whose downfall was hastened by their intemperance, producing idle and licentious habits, discord, effeminacy, and a spirit of dependence. Such were the Persians, the Greeks, and the Romans. Though there are distinctions of rank and station in society, there is a mutual dependence throughout the community at large, similar to the connexion existing among the members of the human body. “The eye cannot say unto the hand, I have no need of thee; nor the head to the feet, I have no need of you.” The man whom wealth has exempted from the common lot of humanity, “in the sweat of thy face shalt thou eat bread,” is as dependent on the cultivator of the soil, the manufacturer, and the mechanic, as they are upon him. Hence all in their several stations are equally the guardians of the peace, happiness, and prosperity of the nation to which they belong; and it becomes both their duty and their interest, either to prevent the introduction of any traffic of an injurious character, or to expel that from the land which may have been found to have such a tendency. The facility with which ardent spirits are obtained in this country, cannot but be regarded as the cause of those habits of intemperance which deface the fair page of our moral history. Drunkenness prevails to a lamentable extent throughout the land, and is the fruitful source of idleness, poverty, immorality, and crime. So far from being diminished, it seems rather on the increase; and the fearful change which it has wrought in the character of our artisans and labouring population, calls for the adoption of some measure to arrest its course. Ardent spirits are destructive of health, property, and morals; unfit to be used by persons in health, being destitute of any nutritious quality; and the traffic in them is injurious to the prosperity of the country. Besides the misery which the use of them inflicts on individuals and families, it greatly augments the national expenditure. It increases the poor’s rates by increasing pauperism; it enhances the expense of judicial proceedings by promoting crime; and our hospitals and lunatic asylums are indebted to the same cause for by far the greater proportion of their wretched inmates. If the money wasted in the purchase of this worse than useless superfluity, were spent on articles of real utility, a stimulus would be given to trade, manufactures, and commerce. Such being the consequences of the traffic in ardent spirits, as proved by incontrovertible evidence, the welfare of the nation calls for its suppression. This must be accomplished, not by an appeal to the legislature for an Act of Parliament to abolish the trade, but by enlightened public opinion. If the community be convinced of the noxious qualities of ardent spirit, and the vicious and immoral consequences to which habits of drinking lead, they will cease to buy, and the traffic must come to an end. But this object cannot be attained till the nation rise as one man to crush this enemy to its happiness. This is the result which the institutions called TEMPERANCE SOCIETIES aim to accomplish. The means they employ is simply the diffusion of information through the land, with a view to correct public opinion, and unite men and women in the practice of total abstinence from distilled spirits as an article of ordinary use. They act upon the well-established maxim that prevention is better than cure; and their first solicitation is to gain the countenance and support of the sober, temperate, respectable, and influential classes of the community, whose combined example may operate upon the mass of the population. Such being their principle and object, they deserve the support and assistance of every friend to humanity and every lover of his country. * * * * * In most quarrels there is a fault on both sides.—A quarrel may be compared to a spark, which cannot be produced without a flint, as well as a steel; either of them may hammer on wood for ever, no fire will follow. * * * * * Learn of the little Nautilus to sail, Spread the thin oar, and catch the driving gale.—POPE. To this little fish we are said to be indebted for one of the grandest and most useful inventions since the world began. It is thus described:—It swims on the surface of the sea, on the back of its shell, which exactly resembles the hull of a ship; it raises two feet like masts, and extends a membrane between, which serves as a sail; the other two feet are employed as oars. This fish is usually found in the Mediterranean. A DEVONSHIRE SKETCH. BY THE LATE REV. JOHN MARRIOTT, OF BROADCLYST Ye green hills of Devon! I love to look o’er ye; The glow of your verdure refreshes my sight! In the wild and majestic let Westmoreland glory; But yours is the palm of more tranquil delight. Not that robes of rich beauty, in which Nature dresses Her features of boldness, your limits disown; To him who could deem so, deep Lymouth’s recesses, And Dart’s rocky borders, must all be unknown. But your own proper boast is the Combe, neatly rounded, Which preserves through all seasons its emerald hue; Whilst the dews, o’er the uplands by which it is bounded, Impart, in soft contrast, the mist’s tender blue; Not deserted, though lonely: the vale in its centre, Girt with Barn and rough Linhay, encloses a farm; And o’er the warm nook of its deepest indenture, The orchard’s fair bloom sheds its fugitive charm. An eye little used to such leafy profusion, Might fancy yon hedge-row one wide-waving wood; And furze and plumed fern, as to aid the illusion, Here and there on the tameness of culture intrude. But wildest the mixture of shrub, bush, and bramble, And sweetest the scent which the wild flowers breathe, Where the birchen-banks mark the stream’s devious ramble, And the ear drinks its musical murmurs beneath. How soothing the sense of serenity stealing O’er the mind, whilst on plenty and peace thus we gaze! Less grateful, perhaps, though more lively, the feeling Awaken’d by prospects that awe and amaze. If in those we acknowledge the symbols of greatness; If earth’s pillars its Maker’s omnipotence prove; In these let us hail Him, “whose clouds distil fatness,” And who crowneth the year with his goodness and love. THE MOCKING-BIRD. (_Turdus polyglottus._) The Mocking-bird is a species of thrush, not uncommon in many parts both of North and South America and the West India Islands. In size, it does not exceed the European song-bird, and perhaps is not equal to it in the beauty of its plumage; it is, however, far from being an inelegant creature, but it is better known for the peculiarity and amazing power of its voice. Although not gifted with any powerful weapons of self-defence, these birds display extraordinary courage in defence of their eggs and young, and will fearlessly attack any animal which may approach their haunts, even their greatest enemy, a species of black snake. “To these qualities” (says Wilson, the American author), “we may add that of a voice full, strong, and musical, and capable of almost every modulation, from the clear mellow tones of the wood-thrush, to the savage scream of the bald-eagle. In measure and accent, he faithfully follows his originals. In force and sweetness of expression, he greatly exceeds them. In his native groves, mounted on the top of a tall bush, or half-grown tree, in the dawn of dewy morning, while the woods are already vocal with a multitude of warblers, his admirable song rises pre-eminent over every competitor. The ear can listen to his music alone, to which that of all the others seems a mere accompaniment. Neither is this strain altogether imitative. His own native notes, which are easily distinguishable by such as are well acquainted with those of our various song-birds, are bold and full, and varied seemingly beyond all limits. His expanded wings and tail, glistening with white, and the buoyant gaiety of his action, arresting the eye as his song most irresistibly does the ear, he sweeps round with enthusiastic ecstacy. He mounts or descends as his song swells or dies away. While thus exerting himself, a bystander, destitute of sight, would suppose that the whole feathered tribes, had assembled together on a trial of skill, each striving to produce his utmost effect; so perfect are his imitations. He many times deceives the sportsman, and sends him in search of birds that perhaps are not within miles of him, but whose notes he exactly imitates; even birds themselves are frequently imposed on by this admirable mimic, and are decoyed by the fancied calls of their mates, or dive with precipitation into the depths of thickets, at the scream of what they suppose to be the sparrow-hawk. [Illustration: THE MOCKING BIRD.] “The mocking-bird loses little of the power and energy of his song by confinement. In his domesticated state, when he commences his career of song, it is impossible to stand by uninterested. He whistles for the dog—Cæsar starts up, wags his tail, and runs to meet his master; he squeaks out like a hurt chicken—and the hen hurries about, with hanging wings and bristled feathers, clucking to protect its injured brood. The barking of the dog, the mewing of the cat, the creaking of a passing wheelbarrow, follow, with great truth and rapidity. He repeats the tune taught him by his master, though of considerable length, fully and faithfully. He runs over the quiverings of the canary and the clear whistlings of the Virginia nightingale, or the redbird, with such superior execution and effect, that the mortified songsters feel their own inferiority and become altogether silent, while he seems to triumph in their defeat by redoubling his exertions. “Both in his native and domesticated state, during the solemn stillness of night, as soon as the moon rises in silent majesty, he begins his delightful solo; and serenades us the livelong night, with a full display of his vocal powers, making the whole neighbourhood ring with his inimitable melody.” * * * * * A lover of natural history cannot I think be a bad man, as the very study of it tends to promote a calmness and serenity of mind, favourable to the reception of grateful and holy thoughts of the great and good Parent of the universe. He cannot be a cruel man, because he will be unwilling wantonly to destroy even an insect, when he perceives how exquisitively each of them is contrived, and how curiously it is made for the station it is destined to fill in the animal world.—JESSE. * * * * * Many methods have been suggested for saving life in cases of accidents on the water: the following was stated to me as an experiment actually made by the relater; he had thus supported himself in the sea, at Plymouth, for twenty minutes, and could have done it much longer. As danger of overturning or of sinking appears, have your hat in readiness, and place it under your chin, holding it with your hands in the same position upon the water as on the head. The air in the crown will prevent the water from rising, and is sufficient to keep the whole head above water. _Homerton._ JAMES EDMESTON. _ANNIVERSARIES IN JULY._ MONDAY, 15th. ST. SWITHIN’S DAY.—See _Saturday Magazine_, vol. i., p. 14. 1685 Execution of _Duke of Monmouth_, after his defeat at Sedgemoor. 1815 _Napoleon_ went on board the British ship Bellerephon, Captain Maitland, after his defeat at Waterloo. 1817 Died, at Paris, the _Baroness de Staël_, the daughter of M. Necker, and author of several political works, which enjoyed considerable popularity while the events of the French Revolution, with which the name of M. Necker is so intimately connected, were recent. Her works evince much knowledge of the human heart. TUESDAY, 16th. 622 On this day the _flight_ of the impostor, Mohammed, from Mecca, took place, and from it his followers date the events of their history. This epoch is called, from the Arabic word, which signifies _to fly_, or _to leave one’s country_, the _Hegira_. 1377 _Richard II._, only child of Edward the Black Prince, was crowned at Westminster. He did not inherit the warlike genius or the talents of his father and grandfather, but seems to have been of a mild, amiable disposition, and may truly be said, in the words of Shakspeare, to have been “a man more sinned against than sinning.” 1546 _Ann Askew_, a young lady of great merit and beauty, (connected with most of the ladies of the court, and with the Queen, Catharine Parr,) was burned at Smithfield, for denying the doctrine of the real presence. 1800 Died, at his seat near Southampton, _Bryan Edwards_, the Author of the _History of the West Indies_. WEDNESDAY, 17th. 1674 The remains of the two Princes, _Edward V. and his Brother_, were discovered in the Tower, and, by order of Charles II., removed to Westminster Abbey. 1761 _Peter III._, husband of Catherine II., was murdered. The unfortunate Emperor was strangled with a towel, and the next day his body was exposed to the populace, and his death attributed to that disease we now call cholera. THURSDAY, 18th. 371 B. C. The Battle of Leuctra, in which the Lacedemonians were defeated, and their general, Cleombrotus, slain. 1100 Death of _Godfrey de Bouillon_, the most celebrated leader among the princes and nobles who went on the first crusade: when Jerusalem was taken, he was unanimously chosen king. 1374 _Petrarch_, one of the earliest, as well as the most elegant, among the Italian poets, whose romantic attachment to the beautiful Laura has rendered his name familiar, even to those who are wholly ignorant of Italian literature, was found dead in his library on the seventieth anniversary of his birth. 1796 _Louis XVIII._ compelled to leave the army of the emigrants, and place himself in the hands of the Austrians. 1812 A Treaty of Peace between England and Sweden was signed at Ærebo. FRIDAY, 19th. 365 B. C. Rome was taken and pillaged by the Gauls, who put to the sword the senators and old men, who alone remained in the city. 64 _Nero_, for his amusement, caused Rome to be set on fire in various places. This conflagration was attributed by him to the Christians, and all who could not escape or conceal themselves, were put to death with the most cruel torments, among others, St. Peter and St. Paul suffered martyrdom. 1333 The Battle of Halidown Hill, in which the Scots were defeated by Edward III. 1588 The Spanish Armada arrived in the British Channel. This formidable fleet consisted of 130 vessels, carrying 2630 pieces of brass cannon. It was fitted out by Philip II. of Spain, and blessed by a special nuncio from the Pope. Its approach spread terror and dismay; but Elizabeth took advantage of the panic to excite her subjects to defend their country without draining her exchequer, and while nobles and citizens fitted out ships at their own charge, the lower orders flocked to man the vessels and defend the coasts. The armada, however was dispersed by a tempest, and, while still in disorder, attacked by the English under Lord Effingham, and compelled to seek safety in flight. SATURDAY, 20th. 1620 A massacre of the Protestants in the Valteline, a fertile valley of Switzerland. 1819 Died, at Edinburgh, _John Playfair_, a celebrated mathematician and geographer. SUNDAY, 21st. SEVENTH SUNDAY AFTER TRINITY. 1403 Battle of Shrewsbury. In this engagement the Prince of Wales, afterwards Henry V., made his first essay in arms. The death of Henry Percy, bettor known as Hotspur, made this battle still more memorable. 1683 The execution of Lord Russell, for high treason, took place in Lincoln’s Inn Fields. 1704 Taking of Gibraltar by the English. 1796 Died, at Dumfries, in his thirty-eighth year, _Robert Burns_, the poet. ------------------------------------------------------------------------ LONDON: JOHN WILLIAM PARKER, WEST STRAND. PUBLISHED IN WEEKLY NUMBERS, PRICE ONE PENNY, AND IN MONTHLY PARTS, PRICE SIXPENCE, AND Sold by all Booksellers and Newsvenders in the Kingdom. ------------------------------------------------------------------------ FOOTNOTES: Footnote 1: For the History of Bells, see this Magazine, vol. i., p. 20. Footnote 2: Sir Walter Scott, in his novel of _Woodstock_, has skilfully worked this incident into the narrative, but has departed from historical accuracy, both in fixing the scene in Shropshire, and restoring to life the sufferer, whom he calls Albany Rochecliffe. ------------------------------------------------------------------------ TRANSCRIBER’S NOTE: • Footnotes were renumbered and moved to the end of the book • Superscript text is presented with a ^ in front of it • Page 10: Colonel Russel, the governor carried away → Colonel Russel, the governor, carried away • Page 11: calmly replied "Soldiers, → calmly replied, "Soldiers, • Page 13: character for 'a man, is → character for 'a man,' is • Page 14: together.[Illustration] In → together [Illustration]. In • Page 14: adjective 'aspiring', → adjective 'aspiring,' • Page 14: goodness and love → goodness and love. • Page 16: the solemn stilness → the solemn stillness • Page 16: Richard II. only → Richard II., only End of the Project Gutenberg EBook of The Saturday Magazine, No. 66, July 1833, by Various *** END OF THIS PROJECT GUTENBERG EBOOK THE SATURDAY MAGAZINE, JULY 1833 *** ***** This file should be named 53577-0.txt or 53577-0.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/5/3/5/7/53577/ Produced by Markus Brenner, David Maranhao and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) 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-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 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-tm mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase "Project Gutenberg"), you agree to comply with all the terms of the Full Project Gutenberg-tm License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. "Project Gutenberg" is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg-tm electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" or PGLAF), owns a compilation copyright in the collection of Project Gutenberg-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is 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-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 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'll have to check the laws of the country where you are located before using this ebook. 1.E.2. If an individual Project Gutenberg-tm 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-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 The Project Gutenberg Trademark LLC, 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 works not protected by U.S. copyright law in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm electronic works, and the medium on which they may be stored, may contain "Defects," such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right of Replacement or Refund" described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg-tm trademark, and any other party distributing a Project Gutenberg-tm electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg-tm and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation's EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state's laws. The Foundation's principal office is in Fairbanks, Alaska, with the mailing address: PO Box 750175, Fairbanks, AK 99775, but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation's web site and official page at www.gutenberg.org/contact For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg Web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart was the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as 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 Web site which has the main PG search facility: www.gutenberg.org This Web site includes information about Project Gutenberg-tm, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.