ï»¿The Project Gutenberg EBook of The Tale of Two Bad Mice, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: The Tale of Two Bad MiceAuthor: Beatrix PotterRelease Date: March 31, 2014 [EBook#45264]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF TWO BAD MICE ***Produced by David Edwards, Emmy and the Online DistributedProofreading Team at http://www.pgdp.net(This file wasproduced from images generously made available by TheInternet Archive)THE TALE OF TWO BAD MICE    FOR    =W. M. L. W.=    THE LITTLE GIRL    WHO HAD THE DOLL'S HOUSE[Illustration]    THE TALEOF    TWO BAD MICE    BY    BEATRIX POTTER    _Author of    'The Tale of Peter Rabbit,' &c._    [Illustration]    LONDON    FREDERICK WARNE AND CO.    AND NEW YORK    1904    [_All rights reserved_]    COPYRIGHT1904    BY    FREDERICK WARNE & CO.    ENTERED AT STATIONERS' HALL.[Illustration]ONCE upon a time there was a very beautiful doll's-house; it was redbrick with white windows, and it had real muslin curtains anda frontdoor and a chimney.IT belonged to two Dolls called Lucinda and Jane; at least it belongedto Lucinda, but she never ordered meals.Jane was the Cook; but she never did any cooking, because the dinnerhad beenbought ready-made, in a box full of shavings.[Illustration][Illustration]THERE were two red lobsters and a ham, a fish, a pudding, and somepears and oranges.They would not come off the plates, but they wereextremely beautiful.ONE morning Lucinda and Jane had gone out for a drive in the doll'sperambulator. There was no one in the nursery, and it was very quiet.Presently there was a little scuffling, scratching noise in acornernear the fire-place, where there was a hole under the skirting-board.Tom Thumb put out his head for a moment, and then popped it in again.Tom Thumb was a mouse.[Illustration][Illustration]A MINUTEafterwards, Hunca Munca, his wife, put her head out, too; andwhen she saw that there was no one in the nursery, she ventured out onthe oilcloth under the coal-box.THE doll's-house stood at the other side of thefire-place. Tom Thumband Hunca Munca went cautiously across the hearthrug. They pushed thefront door--it was not fast.[Illustration][Illustration]TOM THUMB and Hunca Munca went upstairs and peeped intothedining-room. Then they squeaked with joy!Such a lovely dinner was laid out upon the table! There were tinspoons, and lead knives and forks, and two dolly-chairs--all _so_convenient!TOM THUMB set to work at onceto carve the ham. It was a beautifulshiny yellow, streaked with red.The knife crumpled up and hurt him; he put his finger in his mouth."It is not boiled enough; it is hard. You have a try, HuncaMunca."[Illustration][Illustration]HUNCA MUNCA stood up in her chair, and chopped at the ham with anotherlead knife."It's as hard as the hams at the cheesemonger's," said Hunca Munca.THE ham broke off the platewith a jerk, and rolled under the table."Let it alone," said Tom Thumb; "give me some fish, Hunca Munca!"[Illustration][Illustration]HUNCA MUNCA tried every tin spoon in turn; the fish was glued to thedish.Then TomThumb lost his temper. He put the ham in the middle of thefloor, and hit it with the tongs and with the shovel--bang, bang,smash, smash!The ham flew all into pieces, for underneath the shiny paint it wasmade ofnothing but plaster!THEN there was no end to the rage and disappointment of Tom Thumb andHunca Munca. They broke up the pudding, the lobsters, the pears and theoranges.As the fish would not come off the plate,they put it into the red-hotcrinkly paper fire in the kitchen; but it would not burn either.[Illustration][Illustration]TOM THUMB went up the kitchen chimney and looked out at the top--therewas no soot.WHILE TomThumb was up the chimney, Hunca Munca had anotherdisappointment. She found some tiny canisters upon the dresser,labelled--Rice--Coffee--Sago--but when she turned them upside down,there was nothing insideexcept red and blue beads.[Illustration][Illustration]THEN those mice set to work to do all the mischief theycould--especially Tom Thumb! He took Jane's clothes out of the chest ofdrawers in her bedroom, and he threwthem out of the top floor window.But Hunca Munca had a frugal mind. After pulling half the feathers outof Lucinda's bolster, she remembered that she herself was in want of afeather bed.WITH Tom Thumb's assistanceshe carried the bolster downstairs, andacross the hearth-rug. It was difficult to squeeze the bolster into themouse-hole; but they managed it somehow.[Illustration][Illustration]THEN Hunca Munca went back andfetched a chair, a book-case, abird-cage, and several small odds and ends. The book-case and thebird-cage refused to go into the mouse-hole.HUNCA MUNCA left them behind the coal-box, and went to fetch acradle.[Illustration][Illustration]HUNCA MUNCA was just returning with another chair, when suddenly therewas a noise of talking outside upon the landing. The mice rushed backto their hole, and the dolls came into thenursery.WHAT a sight met the eyes of Jane and Lucinda!Lucinda sat upon the upset kitchen stove and stared; and Jane leantagainst the kitchen dresser and smiled--but neither of them madeanyremark.[Illustration][Illustration]THE book-case and the bird-cage were rescued from under thecoal-box--but Hunca Munca has got the cradle, and some of Lucinda'sclothes.SHE also has some useful pots and pans,and several other things.[Illustration][Illustration]THE little girl that the doll's-house belonged to, said,--"I will geta doll dressed like a policeman!"BUT the nurse said,--"I will set a mouse-trap!"[Illustration]SO that isthe story of the two Bad Mice,--but they were not so veryvery naughty after all, because Tom Thumb paid for everything he broke.He found a crooked sixpence under the hearthrug; and upon ChristmasEve, he andHunca Munca stuffed it into one of the stockings of Lucindaand Jane.[Illustration][Illustration]AND very early every morning--before anybody is awake--Hunca Muncacomes with her dust-pan and her broom to sweepthe Dollies' house!    THE END.    PRINTED BY    EDMUND EVANS,    THE RACQUET COURT PRESS,    LONDON, S.E.End of Project Gutenberg's The Tale of Two Bad Mice, by Beatrix Potter*** END OF THIS PROJECTGUTENBERG EBOOK THE TALE OF TWO BAD MICE ******** This file should be named 45264.txt or 45264.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.org/4/5/2/6/45264/Produced by David Edwards, Emmy and the Online DistributedProofreading Team at http://www.pgdp.net (This file wasproduced from images generously madeavailable by TheInternet Archive)Updated editions will replace the previous one--the old editionswill be renamed.Creating the works from public domain print editions means that noone owns a United States copyright inthese works, so the Foundation(and you!) can copy and distribute it in the United States withoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license,apply tocopying and distributing Project Gutenberg-tm electronic works toprotect the PROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youchargefor the eBooks, unless you receive specific permission.  If youdo not charge anything for copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation ofderivative works, reports, performances andresearch.  They may be modified and printed and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license,especially commercialredistribution.*** START: FULL LICENSE ***THE FULL PROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tmmission of promoting the freedistribution of electronic works, by using or distributing this work(or any other work associated in any way with the phrase "ProjectGutenberg"), you agree to comply with all the terms ofthe Full ProjectGutenberg-tm License available with this file or online at  www.gutenberg.org/license.Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or usingany part of this Project Gutenberg-tmelectronic work, you indicate that you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you donot agree to abide by allthe terms of this agreement, you must cease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or accessto a ProjectGutenberg-tm electronic work and you do not agree to be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph1.E.8.1.B.  "Project Gutenberg" is a registered trademark.  It may only beused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are afewthings that you can do with most Project Gutenberg-tm electronic workseven without complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do withProjectGutenberg-tm electronic works if you follow the terms of this agreementand help preserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project GutenbergLiterary Archive Foundation ("the Foundation"or PGLAF), owns a compilation copyright in the collection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain inthe United States.  If anindividual work is in the public domain in the United States and you arelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying orcreating derivativeworks based on the work as long as all references to Project Gutenbergare removed.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronicworks byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthis agreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of thisagreement bykeeping this work in the same format with its attached full ProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located alsogovernwhat you can do with this work.  Copyright laws in most countries are ina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of thisagreementbefore downloading, copying, displaying, performing, distributing orcreating derivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representationsconcerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unless you have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or otherimmediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copy of a Project Gutenberg-tm work (any work on which thephrase "Project Gutenberg" appears, or with which thephrase "ProjectGutenberg" is associated) is accessed, displayed, performed, viewed,copied or distributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You maycopy it, give it away orre-use it under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.org1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom thepublic domain (does not contain a notice indicating that it isposted with permission of the copyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  Ifyou are redistributing or providing access to a workwith the phrase "Project Gutenberg" associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 orobtain permission for the use of the work and theProject Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission ofthe copyright holder, your use and distributionmust comply with both paragraphs 1.E.1 through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the ProjectGutenberg-tm License for all works posted with thepermission 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-tmLicense terms from thiswork, or any files containing a part of thiswork or any other work associated with Project Gutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronicwork, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactive links or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute thiswork in any binary,compressed, marked up, nonproprietary or proprietary form, including anyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work ina format other than"Plain Vanilla ASCII" or other format used in the official versionposted on the official Project Gutenberg-tm web site (www.gutenberg.org),you must, at no additional cost, fee or expense to the user,provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest, of the work in its original "Plain Vanilla ASCII" or otherform.  Any alternate format must include the full ProjectGutenberg-tmLicense 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 worksunless you comply with paragraph1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributing Project Gutenberg-tm electronic works providedthat- You pay a royalty fee of 20% of the gross profits you derivefrom     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     hasagreed 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 legallyrequired 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 thats/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 ofand 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     electronicwork 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 afee or distribute a Project Gutenberg-tmelectronic work or group of works on different terms than are setforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary ArchiveFoundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundation as set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffortto identify, do copyright research on, transcribe and proofreadpublic domain works in creating the Project Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on whichthey may be stored, may contain"Defects," such as, but not limited to, incomplete, inaccurate orcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk orother medium, acomputer virus, or computer codes that damage or cannot be read byyour equipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Rightof Replacement or Refund" describedin paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of the ProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement,disclaim allliability to you for damages, costs and expenses, including legalfees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACTEXCEPT THOSEPROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT,INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect inthis electronic work within 90 days of receiving it, you canreceive a refund of the money (if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on aphysical medium, you must return the medium withyour written explanation.  The person or entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you receivedthe work electronically, the person or entityproviding it to you may choose to give you a second opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand arefund in writing without furtheropportunities to fix the problem.1.F.4.  Except for the limited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NOOTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TOWARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certainimpliedwarranties or the exclusion or limitation of certain types of damages.If any disclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shallbeinterpreted to make the maximum disclaimer or limitation permitted bythe applicable state law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remainingprovisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, any agent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works inaccordancewith 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 legalfees,that arise directly or indirectly from any of the following which you door cause to occur: (a) distribution of this or any Project Gutenberg-tmwork, (b) alteration, modification, or additions or deletions to anyProjectGutenberg-tm work, and (c) any Defect you cause.Section  2.  Information about the Mission of Project Gutenberg-tmProject Gutenberg-tm is synonymous with the free distribution ofelectronic works in formatsreadable by the widest variety of computersincluding obsolete, old, middle-aged and new computers.  It existsbecause of the efforts of hundreds of volunteers and donations frompeople in all walks of life.Volunteers andfinancial support to provide volunteers with theassistance they need are critical to reaching Project Gutenberg-tm'sgoals and ensuring that the Project Gutenberg-tm collection willremain freely available for generations


ï»¿Project Gutenberg's The Tale of Ginger and Pickles, by Beatrix PotterThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use itunder the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: The Tale of Ginger and PicklesAuthor: Beatrix PotterRelease Date: February 2, 2005 [EBook#14877]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK THE TALE OF GINGER AND PICKLES ***Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed ProofreadingTeam.THE TALE OF GINGER AND PICKLESDEDICATEDWITH VERY KIND REGARDS TO OLD MR. JOHN TAYLOR,WHO "THINKS HE MIGHT PASS AS A DORMOUSE!" (THREE YEARS IN BED AND NEVER AGRUMBLE!)[Illustration]THE TALE OF GINGER & PICKLESBY BEATRIX POTTER_Author of "The Tale of Peter Rabbit," &c._[Illustration]FREDERICK WARNE1909 by Frederick Warne & Co.Printed and bound in Great BritainbyWilliam Clowes Limited, Beccles and London[Illustration]Once upon a time there was a village shop. The name over the window was"Ginger and Pickles."It was a little small shop just the right size for Dolls--Lucindaand JaneDoll-cook always bought their groceries at Ginger and Pickles.The counter inside was a convenient height for rabbits. Ginger andPickles sold red spotty pocket-handkerchiefs at a penny three farthings.They alsosold sugar, and snuff and galoshes.In fact, although it was such a small shop it sold nearlyeverything--except a few things that you want in a hurry--like bootlaces,hair-pins and mutton chops.Ginger and Pickles werethe people who kept the shop. Ginger was a yellowtom-cat, and Pickles was a terrier.The rabbits were always a little bit afraid of Pickles.[Illustration][Illustration]The shop was also patronized by mice--only the micewere rather afraid ofGinger.Ginger usually requested Pickles to serve them, because he said it madehis mouth water."I cannot bear," said he, "to see them going out at the door carryingtheir little parcels.""I have thesame feeling about rats," replied Pickles, "but it wouldnever do to eat our own customers; they would leave us and go to TabithaTwitchit's.""On the contrary, they would go nowhere," replied Ginger gloomily.(TabithaTwitchit kept the only other shop in the village. She did notgive credit.)[Illustration][Illustration]Ginger and Pickles gave unlimited credit.Now the meaning of "credit" is this--when a customer buys a bar of soap,insteadof the customer pulling out a purse and paying for it--she saysshe will pay another time.And Pickles makes a low bow and says, "With pleasure, madam," and it iswritten down in a book.The customers come again andagain, and buy quantities, in spite of beingafraid of Ginger and Pickles.But there is no money in what is called the "till."[Illustration][Illustration]The customers came in crowds every day and bought quantities,especiallythe toffee customers. But there was always no money; they never paid foras much as a pennyworth of peppermints.But the sales were enormous, ten times as large as Tabitha Twitchit's.[Illustration]As therewas always no money, Ginger and Pickles were obliged to eattheir own goods.Pickles ate biscuits and Ginger ate a dried haddock.They ate them by candle-light after the shop was closed.[Illustration]When it came toJan. 1st there was still no money, and Pickles was unableto buy a dog licence."It is very unpleasant, I am afraid of the police," said Pickles."It is your own fault for being a terrier; _I_ do not require a licence,and neitherdoes Kep, the Collie dog.""It is very uncomfortable, I am afraid I shall be summoned. I have triedin vain to get a licence upon credit at the Post Office;" said Pickles."The place is full of policemen. I met one as I wascoming home.""Let us send in the bill again to Samuel Whiskers, Ginger, he owes 22/9for bacon.""I do not believe that he intends to pay at all," replied Ginger.[Illustration]"And I feel sure that Anna Maria pocketsthings--Where are all the creamcrackers?""You have eaten them yourself," replied Ginger.[Illustration]Ginger and Pickles retired into the back parlour.They did accounts. They added up sums and sums, andsums."Samuel Whiskers has run up a bill as long as his tail; he has had anounce and three-quarters of snuff since October.""What is seven pounds of butter at 1/3, and a stick of sealing wax andfour matches?""Send inall the bills again to everybody 'with comp'ts,'" replied Ginger.[Illustration][Illustration]After a time they heard a noise in the shop, as if something had beenpushed in at the door. They came out of the back parlour.There was anenvelope lying on the counter, and a policeman writing in a note-book!Pickles nearly had a fit, he barked and he barked and made little rushes."Bite him, Pickles! bite him!" spluttered Ginger behind asugar-barrel,"he's only a German doll!"The policeman went on writing in his notebook; twice he put his pencil inhis mouth, and once he dipped it in the treacle.Pickles barked till he was hoarse. But still the policemantook no notice.He had bead eyes, and his helmet was sewed on with stitches.[Illustration]At length on his last little rush--Pickles found that the shop was empty.The policeman had disappeared.But the enveloperemained.[Illustration][Illustration]"Do you think that he has gone to fetch a real live policeman? I am afraidit is a summons," said Pickles."No," replied Ginger, who had opened the envelope, "it is the rates andtaxes,Â£3 19 11-3/4.""This is the last straw," said Pickles, "let us close the shop."They put up the shutters, and left. But they have not removed from theneighbourhood. In fact some people wish they had gonefurther.[Illustration]Ginger is living in the warren. I do not know what occupation he pursues;he looks stout and comfortable.[Illustration][Illustration]Pickles is at present a gamekeeper.[Illustration]The closing of theshop caused great inconvenience. Tabitha Twitchitimmediately raised the price of everything a half-penny; and she continuedto refuse to give credit.Of course there are the trades-men's carts--the butcher, the fish-manandTimothy Baker.But a person cannot live on "seed wigs" and sponge-cake andbutter-buns--not even when the sponge-cake is as good as Timothy's![Illustration]After a time Mr. John Dormouse and his daughterbegan to sell peppermintsand candles.But they did not keep "self-fitting sixes"; and it takes five mice tocarry one seven inch candle.[Illustration][Illustration]Besides--the candles which they sell behave very strangelyin warmweather.[Illustration]And Miss Dormouse refused to take back the ends when they were broughtback to her with complaints.And when Mr. John Dormouse was complained to, he stayed in bed, and wouldsaynothing but "very snug;" which is not the way to carry on a retailbusiness.[Illustration][Illustration]So everybody was pleased when Sally Henny Penny sent out a printed posterto say that she was going to re-open theshop--"Henny's Opening Sale!Grand co-operative Jumble! Penny's penny prices! Come buy, come try, comebuy!"The poster really was most 'ticing.[Illustration]There was a rush upon the opening day. The shop wascrammed withcustomers, and there were crowds of mice upon the biscuit canisters.Sally Henny Penny gets rather flustered when she tries to count outchange, and she insists on being paid cash; but she is quiteharmless.[Illustration]And she has laid in a remarkable assortment of bargains.There is something to please everybody.End of Project Gutenberg's The Tale of Ginger and Pickles, by Beatrix Potter*** END OF THISPROJECT GUTENBERG EBOOK THE TALE OF GINGER AND PICKLES ******** This file should be named 14877-8.txt or 14877-8.zip *****This and all associated files of various formats will be foundin:        http://www.gutenberg.net/1/4/8/7/14877/Produced by Robert Cicconetti, Melissa Er-Raqabi and the PG OnlineDistributed Proofreading Team.Updated editions will replace the previous one--the old editionswillbe renamed.Creating the works from public domain print editions means that noone owns a United States copyright in these works, so the Foundation(and you!) can copy and distribute it in the United Stateswithoutpermission and without paying copyright royalties.  Special rules,set forth in the General Terms of Use part of this license, apply tocopying and distributing Project Gutenberg-tm electronic works toprotect thePROJECT GUTENBERG-tm concept and trademark.  ProjectGutenberg is a registered trademark, and may not be used if youcharge for the eBooks, unless you receive specific permission.  If youdo not charge anythingfor copies of this eBook, complying with therules is very easy.  You may use this eBook for nearly any purposesuch as creation of derivative works, reports, performances andresearch.  They may be modified andprinted and given away--you may dopractically ANYTHING with public domain eBooks.  Redistribution issubject to the trademark license, especially commercialredistribution.*** START: FULL LICENSE ***THE FULLPROJECT GUTENBERG LICENSEPLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORKTo protect the Project Gutenberg-tm mission of promoting the freedistribution of electronic works, by using ordistributing this work(or any other work associated in any way with the phrase "ProjectGutenberg"), you agree to comply with all the terms of the Full ProjectGutenberg-tm License (available with this file or onlineathttp://gutenberg.net/license).Section 1.  General Terms of Use and Redistributing Project Gutenberg-tmelectronic works1.A.  By reading or using any part of this Project Gutenberg-tmelectronic work, you indicatethat you have read, understand, agree toand accept all the terms of this license and intellectual property(trademark/copyright) agreement.  If you do not agree to abide by allthe terms of this agreement, you mustcease using and return or destroyall copies of Project Gutenberg-tm electronic works in your possession.If you paid a fee for obtaining a copy of or access to a ProjectGutenberg-tm electronic work and you do not agreeto be bound by theterms of this agreement, you may obtain a refund from the person orentity to whom you paid the fee as set forth in paragraph 1.E.8.1.B.  "Project Gutenberg" is a registered trademark.  It may onlybeused on or associated in any way with an electronic work by people whoagree to be bound by the terms of this agreement.  There are a fewthings that you can do with most Project Gutenberg-tm electronic worksevenwithout complying with the full terms of this agreement.  Seeparagraph 1.C below.  There are a lot of things you can do with ProjectGutenberg-tm electronic works if you follow the terms of this agreementand helppreserve free future access to Project Gutenberg-tm electronicworks.  See paragraph 1.E below.1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"or PGLAF), owns a compilation copyright in thecollection of ProjectGutenberg-tm electronic works.  Nearly all the individual works in thecollection are in the public domain in the United States.  If anindividual work is in the public domain in the United States and youarelocated in the United States, we do not claim a right to prevent you fromcopying, distributing, performing, displaying or creating derivativeworks based on the work as long as all references to Project Gutenbergareremoved.  Of course, we hope that you will support the ProjectGutenberg-tm mission of promoting free access to electronic works byfreely sharing Project Gutenberg-tm works in compliance with the terms ofthisagreement for keeping the Project Gutenberg-tm name associated withthe work.  You can easily comply with the terms of this agreement bykeeping this work in the same format with its attached fullProjectGutenberg-tm License when you share it without charge with others.1.D.  The copyright laws of the place where you are located also governwhat you can do with this work.  Copyright laws in most countries areina constant state of change.  If you are outside the United States, checkthe laws of your country in addition to the terms of this agreementbefore downloading, copying, displaying, performing, distributing orcreatingderivative works based on this work or any other ProjectGutenberg-tm work.  The Foundation makes no representations concerningthe copyright status of any work in any country outside the UnitedStates.1.E.  Unlessyou have removed all references to Project Gutenberg:1.E.1.  The following sentence, with active links to, or other immediateaccess to, the full Project Gutenberg-tm License must appear prominentlywhenever any copyof a Project Gutenberg-tm work (any work on which thephrase "Project Gutenberg" appears, or with which the phrase "ProjectGutenberg" is associated) is accessed, displayed, performed, viewed,copied ordistributed:This eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it under the terms of the Project Gutenberg License includedwiththis eBook or online at www.gutenberg.net1.E.2.  If an individual Project Gutenberg-tm electronic work is derivedfrom the public domain (does not contain a notice indicating that it isposted with permission of thecopyright holder), the work can be copiedand distributed to anyone in the United States without paying any feesor charges.  If you are redistributing or providing access to a workwith the phrase "Project Gutenberg"associated with or appearing on thework, you must comply either with the requirements of paragraphs 1.E.1through 1.E.7 or obtain permission for the use of the work and theProject Gutenberg-tm trademark as setforth in paragraphs 1.E.8 or1.E.9.1.E.3.  If an individual Project Gutenberg-tm electronic work is postedwith the permission of the copyright holder, your use and distributionmust comply with both paragraphs 1.E.1through 1.E.7 and any additionalterms imposed by the copyright holder.  Additional terms will be linkedto the Project Gutenberg-tm License for all works posted with thepermission of the copyright holder found at thebeginning of this work.1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tmLicense terms from this work, or any files containing a part of thiswork or any other work associated with ProjectGutenberg-tm.1.E.5.  Do not copy, display, perform, distribute or redistribute thiselectronic work, or any part of this electronic work, withoutprominently displaying the sentence set forth in paragraph 1.E.1 withactivelinks or immediate access to the full terms of the ProjectGutenberg-tm License.1.E.6.  You may convert to and distribute this work in any binary,compressed, marked up, nonproprietary or proprietary form, includinganyword processing or hypertext form.  However, if you provide access to ordistribute copies of a Project Gutenberg-tm work in a format other than"Plain Vanilla ASCII" or other format used in the official versionpostedon the official Project Gutenberg-tm web site (www.gutenberg.net),you must, at no additional cost, fee or expense to the user, provide acopy, a means of exporting a copy, or a means of obtaining a copy uponrequest,of the work in its original "Plain Vanilla ASCII" or otherform.  Any alternate format must include the full Project Gutenberg-tmLicense 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 worksunless you comply with paragraph 1.E.8 or 1.E.9.1.E.8.  You may charge a reasonable fee for copies of or providingaccess to or distributingProject Gutenberg-tm electronic works providedthat- 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 tocalculate 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 ArchiveFoundation.  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 markedas 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 afull 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 sucha 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 withparagraph 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 allother 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-tmelectronic work or group of works on different terms than aresetforth in this agreement, you must obtain permission in writing fromboth the Project Gutenberg Literary Archive Foundation and MichaelHart, the owner of the Project Gutenberg-tm trademark.  Contact theFoundationas set forth in Section 3 below.1.F.1.F.1.  Project Gutenberg volunteers and employees expend considerableeffort to identify, do copyright research on, transcribe and proofreadpublic domain works in creating theProject Gutenberg-tmcollection.  Despite these efforts, Project Gutenberg-tm electronicworks, and the medium on which they may be stored, may contain"Defects," such as, but not limited to, incomplete, inaccurateorcorrupt data, transcription errors, a copyright or other intellectualproperty infringement, a defective or damaged disk or other medium, acomputer virus, or computer codes that damage or cannot be read byyourequipment.1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Rightof Replacement or Refund" described in paragraph 1.F.3, the ProjectGutenberg Literary Archive Foundation, the owner of theProjectGutenberg-tm trademark, and any other party distributing a ProjectGutenberg-tm electronic work under this agreement, disclaim allliability to you for damages, costs and expenses, including legalfees.  YOUAGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICTLIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSEPROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION,THETRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BELIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE ORINCIDENTAL DAMAGES EVEN IF YOU GIVENOTICE OF THE POSSIBILITY OF SUCHDAMAGE.1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover adefect in this electronic work within 90 days of receiving it, you canreceive a refund of the money(if any) you paid for it by sending awritten explanation to the person you received the work from.  If youreceived the work on a physical medium, you must return the medium withyour written explanation.  The personor entity that provided you withthe defective work may elect to provide a replacement copy in lieu of arefund.  If you received the work electronically, the person or entityproviding it to you may choose to give you asecond opportunity toreceive the work electronically in lieu of a refund.  If the second copyis also defective, you may demand a refund in writing without furtheropportunities to fix the problem.1.F.4.  Except for thelimited right of replacement or refund set forthin paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHERWARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITEDTOWARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.1.F.5.  Some states do not allow disclaimers of certain impliedwarranties or the exclusion or limitation of certain types of damages.If anydisclaimer or limitation set forth in this agreement violates thelaw of the state applicable to this agreement, the agreement shall beinterpreted to make the maximum disclaimer or limitation permitted bythe applicablestate law.  The invalidity or unenforceability of anyprovision of this agreement shall not void the remaining provisions.1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, thetrademark owner, anyagent or employee of the Foundation, anyoneproviding copies of Project Gutenberg-tm electronic works in accordancewith this agreement, and any volunteers associated with the production,promotion and distribution


ï»¿The Project Gutenberg eBook, Ruth, by Elizabeth Cleghorn GaskellThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-use it underthe terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.orgTitle: RuthAuthor: Elizabeth Cleghorn GaskellRelease Date: December 26, 2001  [eBook #4275]Most recently updatedMarch 1, 2008Language: English***START OF THE PROJECT GUTENBERG EBOOK RUTH***E-text prepared by Charles Aldarondoand revised by Joseph E. Loewenstein, M.D.RUTHbyELIZABETH GASKELLFirst publishedin book form by Chapman and Hall in 1853CONTENTS        I. The Dressmaker's Apprentice at Work       II. Ruth Goes to the Shire-Hall      III. Sunday at Mrs Mason's       IV. Treading in Perilous Places        V. In NorthWales       VI. Troubles Gather About Ruth      VII. The Crisis--Watching and Waiting     VIII. Mrs Bellingham "Does the Thing Handsomely"       IX. The Storm-Spirit Subdued        X. A Note and the Answer       XI.Thurstan and Faith Benson      XII. Losing Sight of the Welsh Mountains     XIII. The Dissenting Minister's Household      XIV. Ruth's First Sunday at Eccleston       XV. Mother and Child      XVI. Sally Tells of HerSweethearts, and Discourses           on the Duties of Life     XVII. Leonard's Christening    XVIII. Ruth Becomes a Governess in Mr Bradshaw's Family      XIX. After Five Years       XX. Jemima Refuses to BeManaged      XXI. Mr Farquhar's Attentions Transferred     XXII. The Liberal Candidate and His Precursor    XXIII. Recognition     XXIV. The Meeting on the Sands      XXV. Jemima Makes a Discovery     XXVI. MrBradshaw's Virtuous Indignation    XXVII. Preparing to Stand on the Truth   XXVIII. An Understanding Between Lovers     XXIX. Sally Takes Her Money Out of the Bank      XXX. The Forged Deed     XXXI. An Accident tothe Dover Coach    XXXII. The Bradshaw Pew Again Occupied   XXXIII. A Mother to Be Proud Of    XXXIV. "I Must Go and Nurse Mr Bellingham"     XXXV. Out of Darkness into Light    XXXVI. The End   Drop, drop, slowtears!   And bathe those beauteous feet,   Which brought from heaven   The news and Prince of peace.   Cease not, wet eyes,   For mercy to entreat:   To cry for vengeance   Sin doth never cease.   In your deepfloods   Drown all my faults and fears;   Nor let His eye   See sin, but through my tears.   _Phineas Fletcher_CHAPTER IThe Dressmaker's Apprentice at WorkThere is an assize-town in one of the eastern counties whichwas muchdistinguished by the Tudor sovereigns, and, in consequence of theirfavour and protection, attained a degree of importance that surprisesthe modern traveller.A hundred years ago its appearance was that ofpicturesque grandeur.The old houses, which were the temporary residences of such of thecounty-families as contented themselves with the gaieties of aprovincial town, crowded the streets and gave them the irregularbutnoble appearance yet to be seen in the cities of Belgium. The sidesof the streets had a quaint richness, from the effect of the gables,and the stacks of chimneys which cut against the blue sky above;while, if the eyefell lower down, the attention was arrested by allkinds of projections in the shape of balcony and oriel; and it wasamusing to see the infinite variety of windows that had been crammedinto the walls long before Mr Pitt'sdays of taxation. The streetsbelow suffered from all these projections and advanced stories above;they were dark, and ill-paved with large, round, jolting pebbles, andwith no side-path protected by kerb-stones; therewere no lamp-postsfor long winter nights; and no regard was paid to the wants of themiddle class, who neither drove about in coaches of their own, norwere carried by their own men in their own sedans into theveryhalls of their friends. The professional men and their wives, theshopkeepers and their spouses, and all such people, walked about atconsiderable peril both night and day. The broad unwieldy carriageshemmed themup against the houses in the narrow streets. Theinhospitable houses projected their flights of steps almost into thecarriage-way, forcing pedestrians again into the danger they hadavoided for twenty or thirty paces.Then, at night, the only lightwas derived from the glaring, flaring oil-lamps hung above the doorsof the more aristocratic mansions; just allowing space for thepassers-by to become visible, before they againdisappeared into thedarkness, where it was no uncommon thing for robbers to be in waitingfor their prey.The traditions of those bygone times, even to the smallest socialparticular, enable one to understand moreclearly the circumstanceswhich contributed to the formation of character. The daily lifeinto which people are born, and into which they are absorbed beforethey are well aware, forms chains which only one in a hundredhasmoral strength enough to despise, and to break when the right timecomes--when an inward necessity for independent individual actionarises, which is superior to all outward conventionalities. Thereforeit is well toknow what were the chains of daily domestic habit whichwere the natural leading-strings of our forefathers before theylearnt to go alone.The picturesqueness of those ancient streets has departed now.The Astleys, theDunstans, the Waverhams--names of power in thatdistrict--go up duly to London in the season, and have sold theirresidences in the county-town fifty years ago, or more. And when thecounty-town lost its attraction forthe Astleys, the Dunstans, theWaverhams, how could it be supposed that the Domvilles, the Bextons,and the Wildes would continue to go and winter there in theirsecond-rate houses, and with their increasedexpenditure? So thegrand old houses stood empty awhile; and then speculators venturedto purchase, and to turn the deserted mansions into many smallerdwellings, fitted for professional men, or even (bend your earlower,lest the shade of Marmaduke, first Baron Waverham, hear) into shops!Even that was not so very bad, compared with the next innovation onthe old glories. The shopkeepers found out that the oncefashionablestreet was dark, and that the dingy light did not show off theirgoods to advantage; the surgeon could not see to draw his patient'steeth; the lawyer had to ring for candles an hour earlier than hewasaccustomed to do when living in a more plebeian street. In short, bymutual consent, the whole front of one side of the street was pulleddown, and rebuilt in the flat, mean, unrelieved style of George theThird. Thebody of the houses was too solidly grand to submit toalteration; so people were occasionally surprised, after passingthrough a commonplace-looking shop, to find themselves at the foot ofa grand carved oakenstaircase, lighted by a window of stained glass,storied all over with armorial bearings.Up such a stair--past such a window (through which the moonlight fellon her with a glory of many colours)--Ruth Hilton passedwearily oneJanuary night, now many years ago. I call it night; but, strictlyspeaking, it was morning. Two o'clock in the morning chimed forththe old bells of St Saviour's. And yet more than a dozen girls stillsat in theroom into which Ruth entered, stitching away as if forvery life, not daring to gape, or show any outward manifestation ofsleepiness. They only sighed a little when Ruth told Mrs Mason thehour of the night, as the resultof her errand; for they knew that,stay up as late as they might, the work-hours of the next day mustbegin at eight, and their young limbs were very weary.Mrs Mason worked away as hard as any of them; but she wasolder andtougher; and, besides, the gains were hers. But even she perceivedthat some rest was needed. "Young ladies! there will be an intervalallowed of half an hour. Ring the bell, Miss Sutton. Martha shallbring youup some bread and cheese and beer. You will be so good asto eat it standing--away from the dresses--and to have your handswashed ready for work when I return. In half an hour," said she oncemore, very distinctly;and then she left the room.It was curious to watch the young girls as they instantaneouslyavailed themselves of Mrs Mason's absence. One fat, particularlyheavy-looking damsel laid her head on her folded arms and wasasleepin a moment; refusing to be wakened for her share in the frugalsupper, but springing up with a frightened look at the sound ofMrs Mason's returning footstep, even while it was still far off onthe echoing stairs.Two or three others huddled over the scantyfireplace, which, with every possible economy of space, and noattempt whatever at anything of grace or ornament, was inserted inthe slight, flat-looking wall, that had beenrun up by the presentowner of the property to portion off this division of the grand olddrawing-room of the mansion. Some employed the time in eating theirbread and cheese, with as measured and incessant a motionof the jaws(and almost as stupidly placid an expression of countenance), as youmay see in cows ruminating in the first meadow you happen to pass.Some held up admiringly the beautiful ball-dress in progress,whileothers examined the effect, backing from the object to be criticisedin the true artistic manner. Others stretched themselves into allsorts of postures to relieve the weary muscles; one or two gave ventto all theyawns, coughs, and sneezes that had been pent up so longin the presence of Mrs Mason. But Ruth Hilton sprang to the large oldwindow, and pressed against it as a bird presses against the bars ofits cage. She put backthe blind, and gazed into the quiet moonlightnight. It was doubly light--almost as much so as day--for everythingwas covered with the deep snow which had been falling silently eversince the evening before. Thewindow was in a square recess; the oldstrange little panes of glass had been replaced by those which gavemore light. A little distance off, the feathery branches of a larchwaved softly to and fro in the scarcelyperceptible night-breeze.Poor old larch! the time had been when it had stood in a pleasantlawn, with the tender grass creeping caressingly up to its verytrunk; but now the lawn was divided into yards and squalidbackpremises, and the larch was pent up and girded about withflag-stones. The snow lay thick on its boughs, and now and then fellnoiselessly down. The old stables had been added to, and altered intoa dismal street ofmean-looking houses, back to back with the ancientmansions. And over all these changes from grandeur to squalor, bentdown the purple heavens with their unchanging splendour!Ruth pressed her hot forehead againstthe cold glass, and strainedher aching eyes in gazing out on the lovely sky of a winter's night.The impulse was strong upon her to snatch up a shawl, and wrapping itround her head, to sally forth and enjoy the glory;and time was whenthat impulse would have been instantly followed; but now, Ruth's eyesfilled with tears, and she stood quite still, dreaming of the daysthat were gone. Some one touched her shoulder while herthoughts werefar away, remembering past January nights, which had resembled this,and were yet so different."Ruth, love," whispered a girl who had unwillingly distinguishedherself by a long hard fit of coughing, "comeand have some supper.You don't know yet how it helps one through the night.""One run--one blow of the fresh air would do me more good," saidRuth."Not such a night as this," replied the other, shivering at theverythought."And why not such a night as this, Jenny?" answered Ruth. "Oh! athome I have many a time run up the lane all the way to the mill, justto see the icicles hang on the great wheel; and when I was once out,Icould hardly find in my heart to come in, even to mother, sittingby the fire;--even to mother," she added, in a low, melancholy tone,which had something of inexpressible sadness in it. "Why, Jenny!"said she, rousingherself, but not before her eyes were swimmingwith tears, "own, now, that you never saw those dismal, hateful,tumble-down old houses there look half so--what shall I call them?almost beautiful--as they do now, withthat soft, pure, exquisitecovering; and if they are so improved, think of what trees, andgrass, and ivy must be on such a night as this."Jenny could not be persuaded into admiring the winter's night, whichto her cameonly as a cold and dismal time, when her cough was moretroublesome, and the pain in her side worse than usual. But she puther arm round Ruth's neck, and stood by her, glad that the orphanapprentice, who was notyet inured to the hardship of a dressmaker'sworkroom, should find so much to give her pleasure in such a commonoccurrence as a frosty night.They remained deep in separate trains of thought till Mrs Mason'sstep washeard, when each returned, supperless but refreshed, to herseat.Ruth's place was the coldest and the darkest in the room, althoughshe liked it the best; she had instinctively chosen it for the sakeof the wall opposite toher, on which was a remnant of the beautyof the old drawing-room, which must once have been magnificent, tojudge from the faded specimen left. It was divided into panels ofpale sea-green, picked out with white andgold; and on these panelswere painted--were thrown with the careless, triumphant hand of amaster--the most lovely wreaths of flowers, profuse and luxuriantbeyond description, and so real-looking, that you couldalmostfancy you smelt their fragrance, and heard the south wind go softlyrustling in and out among the crimson roses--the branches of purpleand white lilac--the floating golden-tressed laburnum boughs.Besides these,there were stately white lilies, sacred to theVirgin--hollyhocks, fraxinella, monk's-hood, pansies, primroses;every flower which blooms profusely in charming old-fashioned countrygardens was there, depicted among itsgraceful foliage, but not inthe wild disorder in which I have enumerated them. At the bottom ofthe panel lay a holly-branch, whose stiff straightness was ornamentedby a twining drapery of English ivy and mistletoe andwinter aconite;while down either side hung pendant garlands of spring and autumnflowers; and, crowning all, came gorgeous summer with the sweetmusk-roses, and the rich-coloured flowers of June and July.SurelyMonnoyer, or whoever the dead and gone artist might be, wouldhave been gratified to know the pleasure his handiwork, even in itswane, had power to give to the heavy heart of a young girl; for theyconjured up visionsof other sister-flowers that grew, and blossomed,and withered away in her early home.Mrs Mason was particularly desirous that her workwomen should exertthemselves to-night, for, on the next, the annual hunt-ballwas totake place. It was the one gaiety of the town since the assize-ballshad been discontinued. Many were the dresses she had promised shouldbe sent home "without fail" the next morning; she had not let oneslipthrough her fingers, for fear, if it did, it might fall into thehands of the rival dressmaker, who had just established herself inthe very same street.She determined to administer a gentle stimulant to the flaggingspirits,and with a little preliminary cough to attract attention,she began:"I may as well inform you, young ladies, that I have been requestedthis year, as on previous occasions, to allow some of my young peopleto attend inthe ante-chamber of the assembly-room with sandalribbon, pins, and such little matters, and to be ready to repair anyaccidental injury to the ladies' dresses. I shall send four--of themost diligent." She laid a markedemphasis on the last words, butwithout much effect; they were too sleepy to care for any of thepomps and vanities, or, indeed, for any of the comforts of thisworld, excepting one sole thing--their beds.Mrs Mason was avery worthy woman, but, like many other worthy women,she had her foibles; and one (very natural to her calling) was topay an extreme regard to appearances. Accordingly, she had alreadyselected in her own mindthe four girls who were most likely to docredit to the "establishment;" and these were secretly determinedupon, although it was very well to promise the reward to the mostdiligent. She was really not aware of thefalseness of this conduct;being an adept in that species of sophistry with which peoplepersuade themselves that what they wish to do is right.At last there was no resisting the evidence of weariness. They weretold to goto bed; but even that welcome command was languidlyobeyed. Slowly they folded up their work, heavily they moved about,until at length all was put away, and they trooped up the wide, darkstaircase."Oh! how shall Iget through five years of these terrible nights! inthat close room! and in that oppressive stillness! which lets everysound of the thread be heard as it goes eternally backwards andforwards," sobbed out Ruth, as shethrew herself on her bed, withouteven undressing herself."Nay, Ruth, you know it won't be always as it has been to-night. Weoften get to bed by ten o'clock; and by-and-by you won't mind thecloseness of the room.You're worn out to-night, or you would nothave minded the sound of the needle; I never hear it. Come, let meunfasten you," said Jenny."What is the use of undressing? We must be up again and at work inthreehours.""And in those three hours you may get a great deal of rest, if youwill but undress yourself and fairly go to bed. Come, love."Jenny's advice was not resisted; but before Ruth went to sleep, shesaid:"Oh! I wish Iwas not so cross and impatient. I don't think I used tobe.""No, I am sure not. Most new girls get impatient at first; but itgoes off, and they don't care much for anything after awhile. Poorchild! she's asleep already," saidJenny to herself.She could not sleep or rest. The tightness at her side was worse thanusual. She almost thought she ought to mention it in her lettershome; but then she remembered the premium her father hadstruggledhard to pay, and the large family, younger than herself, that had tobe cared for, and she determined to bear on, and trust that when thewarm weather came both the pain and the cough would go away.Shewould be prudent about herself.What was the matter with Ruth? She was crying in her sleep as if herheart would break. Such agitated slumber could be no rest; so Jennywakened her."Ruth! Ruth!""Oh, Jenny!" saidRuth, sitting up in bed, and pushing back themasses of hair that were heating her forehead, "I thought I saw mammaby the side of the bed, coming, as she used to do, to see if I wereasleep and comfortable; and whenI tried to take hold of her, shewent away and left me alone--I don't know where; so strange!""It was only a dream; you know you'd been talking about her to me,and you're feverish with sitting up late. Go to sleepagain, and I'llwatch, and waken you if you seem uneasy.""But you'll be so tired. Oh, dear! dear!" Ruth was asleep again, evenwhile she sighed.Morning came, and though their rest had been short, the girlsaroserefreshed."Miss Sutton, Miss Jennings, Miss Booth, and Miss Hilton, you willsee that you are ready to accompany me to the shire-hall by eighto'clock."One or two of the girls looked astonished, but themajority,having anticipated the selection, and knowing from experience theunexpressed rule by which it was made, received it with the sullenindifference which had become their feeling with regard to mostevents--adeadened sense of life, consequent upon their unnaturalmode of existence, their sedentary days, and their frequent nights oflate watching.But to Ruth it was inexplicable. She had yawned, and loitered, andlooked off atthe beautiful panel, and lost herself in thoughts ofhome, until she fully expected the reprimand which at any other timeshe would have been sure to receive, and now, to her surprise, shewas singled out as one of themost diligent!Much as she longed for the delight of seeing the nobleshire-hall--the boast of the county--and of catching glimpses of thedancers, and hearing the band; much as she longed for some variety tothe dull,monotonous life she was leading, she could not feel happyto accept a privilege, granted, as she believed, in ignorance of thereal state of the case; so she startled her companions by risingabruptly and going up to MrsMason, who was finishing a dress whichought to have been sent home two hours before:"If you please, Mrs Mason, I was not one of the most diligent; I amafraid--I believe--I was not diligent at all. I was very tired;andI could not help thinking, and when I think, I can't attend to mywork." She stopped, believing she had sufficiently explained hermeaning; but Mrs Mason would not understand, and did not wish for anyfurtherelucidation."Well, my dear, you must learn to think and work too; or, if youcan't do both, you must leave off thinking. Your guardian, you know,expects you to make great progress in your business, and I am sureyouwon't disappoint him."But that was not to the point. Ruth stood still an instant, althoughMrs Mason resumed her employment in a manner which any one but a "newgirl" would have known to be intelligible enough, that


<title>Save the Last Dance Script at IMSDb.</title><meta name="description" content="Save the Last Dance script at the Internet Movie Script Database."><meta name="keywords" content="Savethe Last Dance script, Save the Last Dance movie script, Save the Last Dance film script"><meta name="viewport" content="width=device-width, initial-scale=1" /><meta name="HandheldFriendly"content="true"><meta http-equiv="content-type" content="text/html; charset=iso-8859-1"><meta http-equiv="Content-Language" content="EN"><meta name=objecttype CONTENT=Document><metaname=ROBOTS CONTENT="INDEX, FOLLOW"><meta name=Subject CONTENT="Movie scripts, Film scripts"><meta name=rating CONTENT=General><meta name=distribution content=Global><metaname=revisit-after CONTENT="2 days"><link href="/style.css" rel="stylesheet" type="text/css">

The Internet Movie Script Database(IMSDb)

     <imgsrc="/images/logo_middle.gif" border="0">
      <imgsrc="/images/logo_bottom.gif" width="170" border="0">
 The web's largest
movie script resource!

           Search IMSDb
<form method="post" action="/search.php">            <tdwidth="180">
                <input type="text" name="search_query" maxlength="255" size="15">                <input type="submit" value="Go!"name="submit">
	</form>

Alphabetical<tralign="center">        #         A        B        C        <ahref="/alphabetical/D">D        E        F        G        H<tralign="center">         I        J        K        L        <ahref="/alphabetical/M">M        N        O        P        Q<tralign="center">         R        S        T        U        <ahref="/alphabetical/V">V        W        X        Y        <ahref="/alphabetical/Z">Z

Genre
 ActionAdventure Animation
 Comedy Crime <ahref="/genre/Drama">Drama
 Family Fantasy Film-Noir
 <ahref="/genre/Horror">Horror Musical Mystery
 Romance <ahref="/genre/Sci-Fi">Sci-Fi Short
 Thriller War <ahref="/genre/Western">Western

  Sponsor

TV Transcripts
Futurama
 Seinfeld
 South Park
 Stargate SG-1
 Lost
 The 4400

International
 French scripts

MovieSoftware

 Rip from DVD
 <ahref="/software/rip-blu-ray">Rip Blu-Ray

Latest Comments
Star Wars: Revenge of the Sith10/10
Star Wars: The ForceAwakens10/10
Batman Begins9/10
Collateral10/10
Jackie Brown8/10

Movie Chat
 <tdalign="center"><form class="yellbox" action="https://www.yellbox.com/addmessage.php" method="post" target="ybframe"name="yellform">  <input type="hidden" name="sub_username" value="imsdb"> <input class="yellbox" name="sub_name" value="Name" size=21 maxlength=10 onFocus="if(this.value == 'Name')this.value = '';return;">
 <textarea class="yellbox" cols=15 rows=4 name="sub_message" wrap onFocus="if(this.value == 'Message')this.value = ''; return;">Message</textarea>

 <buttononClick="javascript:makeNewWindow(); return false;"></button> <button type="submit" value="Post" onClick="returnclearMessageBox();">Yell !</button>
</form>

      ALL SCRIPTS

	<tdvalign="top">

                      SAVE THE LAST DANCE                               by                         Duane G. Adler                          revisionsby                        Toni-Ann Johnson                      Current Revisions by                    Cheryl Edwards (6/11/99)REWRITE -- FIRST SET OF REVISIONSCort/Madden CompanyParamount Studios5555 MelroseAvenueChevalier Building, Ste. 203Los Angeles, CaliforniaJUNE 11, 1999    FADE IN:1   EXT. PENNSYLVANIA COUNTRYSIDE - LONG SHOT - DAY            1    of an empty stretch ofland parted down the middle by    railroad tracks. An Amtrak Commuter crests the horizon,    heads TOWARD us. As it gets CLOSER, we GO IN TIGHTER to    see --2   FACE OF SARAJOHNSON                                       2    17, pressed at one of its windows.3   REVERSE ANGLE - REFLECTION IN TRAIN'S WINDOW -             3    SARA'S FACE    distant and lovely and sad.SUPERIMPOSED against an    endless stream of sky and trees. The train speeds up and    SARA's face flies by, disappearing FROM FRAME.4   INT. AMTRAK TRAIN - MOVING - DUSK                          4    Azaftig BLACK WOMAN clumsily negotiates the aisle.    Stops at the first of a few empty seats left in the car.                             WOMAN               This seat taken?    ANGLE ON SARA    looking up,around. She shakes her head, clears her    backpack and magazines from the seat beside her. The    Woman drops down, settles in. A long silence. The Woman    glances at the American Ballet magazine on Sara'slap.    Tries to make conversation.                             WOMAN               I love ballet. Never had the body               for it. Do you dance?    Sara folds her arms, turns away mumbling underbreath.                            SARA               Used to.    Sara gazes out the window. The world outside begins to    dissolve melting into images from another time, another    place. Her eyes stare blankly OUT ATus, blinded by her    memories.                                                            2.5   FLASHBACK - INT. AUDITORIUM - KINDERGARTEN RECITAL - DAY 5    A stage full of five-year-olds in tightsand tutus. A    little girl performs center stage. She's remarkably    poised, remarkably good. CAMERA PANS TO the audience. A    woman in an Irish clover necklace springs to her feet    clapping loudly. The little girl'seyes catch the glint    of the necklace's gold. Mommy. She flashes a megawatt    smile, ends the dance with an unscripted bow, as we...                                                   DISSOLVE TO:6   INT. BALLETCLASS - EVENING (FIVE YEARS LATER)                6    Young Sara, lithe and earnest, dances. A budding beauty    blessed with long limbs and natural grace, she makes it    look easy. Gliding past the enviousstares of    classmates, she scans the hall for a glint of gold.    Finds it in the back of the room where her mother, Glynn,    stands watching her. Their eyes connect with mutual    smiles and those smiles CARRY usTO:7   INT. SARA'S EXETER HOUSE - LIVING ROOM - DAY                  7    A pair of flexing feet in ballet slippers on a hardwood    floor. PAN UP and PULL BACK to reveal Sara at 17,    dancing in the spaceopened up by cornered furniture and    rolled up rugs. As Glynn looks on, Sara completes the    routine with a pirouette. She spins out of it with a    preoccupied frown on herface.                            GLYNN               What's the matter?   It was good.                            SARA                    (checks her                     stance in mirror)             Everybody there's going tobe             good, Mom. I have to be better.                    (then, beginning                     again)             My knees still knock when I do my             free form. Did you noticethat?                           GLYNN             I noticed that it was fine.                           SARA                    (escalating                     frustration)             It's not supposed to be fine.             It'ssupposed to be special.                           (MORE)                                                 (CONTINUED)                                                              3.7   CONTINUED:                                                     7                           SARA (CONT'D)             And it just lays there, it doesn't             do anything. I bet they notice             that. That it doesn't do             anything. That I don'tdo             anything special enough to get in.                                GLYNN                 Sara.   You'll get in.                               SARA                 Don't lie because you love me.     My                 freeform sucks.                               GLYNN                        (giving up that                         battle)                 I've got something for you. Come                 on. Sit. Mouth closed, eyes                 shut. Nopouting. No peeking.    Sara flops down on the sofa beside her. Closes her eyes.    Glynn removes the clover chain from her neck, fastens it    around Sara's.                               GLYNN                 For lucktomorrow. Not that                 you'll need it. You dance like an                 angel.    The necklace is Glynn's talisman. Sara knows what it    means to her. She throws her arms around Glynn, holds    onto hertightly.                               SARA                 I love the necklace but you're                 still the best luck I'll ever                 have.    Glynn, not one to choke up, chokes up.        They cling to    eachother.8   INT. AMTRAK TRAIN (MOVING) - ON SARA - DUSK (PRESENT)          8    In the blink of her eyes, the memory fades. She pulls    the window shade, shifts in her seat. Her fingers travel    to the clovernecklace at her throat. Linger. The Woman    regards her.                               WOMAN                 Nice... the necklace.                                                     (CONTINUED)                                                               4.8    CONTINUED:                                                     8                                SARA                  Oh. It's a good luck charm.                  Doesn't alwayswork.     The Woman's wearing a crucifix.     She indicates it.     Smiles.                                 WOMAN                  Mine either.9    FLASHBACK - INT./EXT. BUS/RURAL ROAD -MORNING                 9     A sea of young white faces. A jock entertains the troops     with two straws up his nose. Sara sits next to her best     friend, LINDSAY, 17. Lindsay, chomping on a wad of gum,     turnsfrom the jock to Sara with a bubble in bloom,     bursts it with her teeth.                                LINDSAY                  Wanna pray? You're leaving for                  Philly after first period. I                  won't seeyou. We should pray.                                SARA                         (stupefied)                  Lindsay... no. Not here.     Lindsay grabs Sara's hand and bows her head.      Sara,     embarrassed, aligns her headwith Lindsay's.      She's     praying nobody sees them.                                LINDSAY                  'Awesome, Father, S.J. auditions                  today. She's ready for them.                  Please make themready for her.                  Even if she screws up. Thanks.                  Amen.'                         (sure shrug; another                          bubble)                  God's gotten me outta all kinds of                  shit. He oughta beable to get                  you into Juilliard.10   EXT. EXETER SENIOR HIGH SCHOOL - LATER THAT MORNING            10     Sara exits with a bouquet of roses, takes the steps two     and three at a time. Glynn'swaiting in a flower van at     the curb.                                                             5.11   INT./EXT. FLOWER VAN (DRIVING)/RESIDENTIAL STREETS           11     Sara and Glynn. The back ofthe van is filled with     flower arrangements. Glynn takes note of the roses in     Sara's hand.                             GLYNN               Where'd you get those,traitor?                             SARA               Ellison -- Mr. Ellison. He               actually told me to break a leg.                             GLYNN               Roses from the principal, even               droopy,out-of-season yellow ones,               is beyond cool, kiddo. You're               definitely movin' up in the world.     Sara looks through the windshield.   It's startingto     drizzle.                             SARA               Know what would be great? If you               didn't drop me off at the bus               station. If we just kept going               until we get toPhilly.                             GLYNN               Ruin everyone's Valentine's Day               and not have a shop when I get               back. That's your definition of               great? I can see theheadline               now: 'Starving Artist Kills Unfit               Mother.'                      (gently)               Sweetheart, we talked about this.               I'll get there as soon as I can.     Sara looks at her and Glynn instantlyfeels guilty.                             SARA               Right. This is the hardest, most               important day of my life and all               you can do is get there as soon as               you can. Thanks,Mom.12   EXT. GREYHOUND BUS STATION (READING, PA) -                   12     CONTINUOUS ACTION     Glynn pulls the van into the parking lot. Smiles at     Sara. Sara doesn't smile back. She's tooangry. Too     scared.                                                  (CONTINUED)                                                             6.12   CONTINUED:                                                   12                                SARA                  So I guess I'll see you later.                                GLYNN                  I won't miss your audition, Sara.                  I'll be there, okay? If I have to                  swimthe Susquehanna, I'll be                  there.                                 SARA                  Swim?   You can't swim, Mom.                             GLYNN               I'll float then.     A moment. They look at eachother. Sara finally smiles.     They embrace and she hops out the van. Glynn calls after     her.                             GLYNN               Hey... Happy Valentine's Day.13   INT. AMTRAK TRAIN (MOVING) - ONSARA - NIGHT (PRESENT)       13     Feigning sleep. From the corner of her eye, she watches     the Woman beside her flip through the American Ballet     Magazine. We move back in time through theirpages.14   FLASHBACK - INT. UNIVERSITY OF PENNSYLVANIA - WAITING        14     ROOM - DAY     Sara, in costume, flips through a magazine. She taps her     toes, checks her watch. A phalanx ofparents and dancers     are clustered around a sign posted on the door:     JUILLIARD SCHOOL OF DANCE AUDITIONS. Sara stares at it.     Re-checks her watch. An official with a clipboard walks     toward her. Where'sher mother?15   INT. UNIV. OF PENNSYLVANIA - STAGE/AUDITORIUM -              15     MOMENTS LATER     Sara on stage. She looks past a row of Juilliard JUDGES     into the audience. No glint of


ï»¿Project Gutenberg's A Portrait of the Artist as a Young Man, by James JoyceThis eBook is for the use of anyone anywhere at no cost and withalmost no restrictions whatsoever.  You may copy it, give it away orre-useit under the terms of the Project Gutenberg License includedwith this eBook or online at www.gutenberg.netTitle: A Portrait of the Artist as a Young ManAuthor: James JoycePosting Date: July 2, 2009 [EBook#4217]Release Date: July, 2003First Posted: December 8, 2001[Last updated: March 30, 2014]Language: English*** START OF THIS PROJECT GUTENBERG EBOOK PORTRAIT--ARTIST AS YOUNG MAN ***Produced byCol Choat.  HTML version by Al Haines.A Portrait of the Artist as a Young ManbyJames Joyce<p>_"Et ignotas animum dimittit in artes."Ovid, Metamorphoses, VIII., 18._</p>Chapter 1Once upon a time and a very goodtime it was there was a moocow comingdown along the road and this moocow that was coming down along the roadmet a nicens little boy named baby tuckoo...His father told him that story: his father looked at himthrough aglass: he had a hairy face.He was baby tuckoo. The moocow came down the road where Betty Byrnelived: she sold lemon platt.    O, the wild rose blossoms    On the little green place.He sang that song. Thatwas his song.    O, the green wothe botheth.When you wet the bed first it is warm then it gets cold. His mother puton the oilsheet. That had the queer smell.His mother had a nicer smell than his father. She played onthe pianothe sailor's hornpipe for him to dance. He danced:    Tralala lala,    Tralala tralaladdy,    Tralala lala,    Tralala lala.Uncle Charles and Dante clapped. They were older than his father andmother but uncle Charleswas older than Dante.Dante had two brushes in her press. The brush with the maroon velvetback was for Michael Davitt and the brush with the green velvet backwas for Parnell. Dante gave him a cachou every time hebrought her apiece of tissue paper.The Vances lived in number seven. They had a different father andmother. They were Eileen's father and mother. When they were grown uphe was going to marry Eileen. He hid underthe table. His mother said:--O, Stephen will apologize.Dante said:--O, if not, the eagles will come and pull out his eyes.--    Pull out his eyes,    Apologize,    Apologize,    Pull out his eyes.    Apologize,    Pull out hiseyes,    Pull out his eyes,    Apologize.* * * * *The wide playgrounds were swarming with boys. All were shouting and theprefects urged them on with strong cries. The evening air was pale andchilly and after everycharge and thud of the footballers the greasyleather orb flew like a heavy bird through the grey light. He kept onthe fringe of his line, out of sight of his prefect, out of the reachof the rude feet, feigning to run now andthen. He felt his body smalland weak amid the throng of the players and his eyes were weak andwatery. Rody Kickham was not like that: he would be captain of thethird line all the fellows said.Rody Kickham was adecent fellow but Nasty Roche was a stink. RodyKickham had greaves in his number and a hamper in the refectory. NastyRoche had big hands. He called the Friday pudding dog-in-the-blanket.And one day he hadasked:--What is your name?Stephen had answered: Stephen Dedalus.Then Nasty Roche had said:--What kind of a name is that?And when Stephen had not been able to answer Nasty Roche had asked:--What is yourfather?Stephen had answered:--A gentleman.Then Nasty Roche had asked:--Is he a magistrate?He crept about from point to point on the fringe of his line, makinglittle runs now and then. But his hands were bluish withcold. He kepthis hands in the side pockets of his belted grey suit. That was a beltround his pocket. And belt was also to give a fellow a belt. One day afellow said to Cantwell:--I'd give you such a belt in asecond.Cantwell had answered:--Go and fight your match. Give Cecil Thunder a belt. I'd like to seeyou. He'd give you a toe in the rump for yourself.That was not a nice expression. His mother had told him not tospeakwith the rough boys in the college. Nice mother! The first day in thehall of the castle when she had said goodbye she had put up her veildouble to her nose to kiss him: and her nose and eyes were red. But hehadpretended not to see that she was going to cry. She was a nicemother but she was not so nice when she cried. And his father had givenhim two five-shilling pieces for pocket money. And his father had toldhim if hewanted anything to write home to him and, whatever he did,never to peach on a fellow. Then at the door of the castle the rectorhad shaken hands with his father and mother, his soutane fluttering inthe breeze, and thecar had driven off with his father and mother onit. They had cried to him from the car, waving their hands:--Goodbye, Stephen, goodbye!--Goodbye, Stephen, goodbye!He was caught in the whirl of a scrimmage and,fearful of the flashingeyes and muddy boots, bent down to look through the legs. The fellowswere struggling and groaning and their legs were rubbing and kickingand stamping. Then Jack Lawton's yellow boots dodgedout the ball andall the other boots and legs ran after. He ran after them a little wayand then stopped. It was useless to run on. Soon they would be goinghome for the holidays. After supper in the study hall he wouldchangethe number pasted up inside his desk from seventy-seven to seventy-six.It would be better to be in the study hall than out there in the cold.The sky was pale and cold but there were lights in the castle.Hewondered from which window Hamilton Rowan had thrown his hat on theha-ha and had there been flowerbeds at that time under the windows. Oneday when he had been called to the castle the butler had shown himthemarks of the soldiers' slugs in the wood of the door and had given hima piece of shortbread that the community ate. It was nice and warm tosee the lights in the castle. It was like something in a book.PerhapsLeicester Abbey was like that. And there were nice sentences in DoctorCornwell's Spelling Book. They were like poetry but they were onlysentences to learn the spelling from.    Wolsey died in LeicesterAbbey    Where the abbots buried him.    Canker is a disease of plants,    Cancer one of animals.It would be nice to lie on the hearthrug before the fire, leaning hishead upon his hands, and think on those sentences. Heshivered as if hehad cold slimy water next his skin. That was mean of Wells to shoulderhim into the square ditch because he would not swop his little snuffbox for Wells's seasoned hacking chestnut, the conqueror offorty. Howcold and slimy the water had been! A fellow had once seen a big ratjump into the scum. Mother was sitting at the fire with Dante waitingfor Brigid to bring in the tea. She had her feet on the fender andherjewelly slippers were so hot and they had such a lovely warm smell!Dante knew a lot of things. She had taught him where the MozambiqueChannel was and what was the longest river in America and what wasthename of the highest mountain in the moon. Father Arnall knew more thanDante because he was a priest but both his father and uncle Charlessaid that Dante was a clever woman and a well-read woman. AndwhenDante made that noise after dinner and then put up her hand to hermouth: that was heartburn.A voice cried far out on the playground:--All in!Then other voices cried from the lower and third lines:--All in! Allin!The players closed around, flushed and muddy, and he went among them,glad to go in. Rody Kickham held the ball by its greasy lace. A fellowasked him to give it one last: but he walked on without evenansweringthe fellow. Simon Moonan told him not to because the prefect waslooking. The fellow turned to Simon Moonan and said:--We all know why you speak. You are McGlade's suck.Suck was a queer word. Thefellow called Simon Moonan that name becauseSimon Moonan used to tie the prefect's false sleeves behind his backand the prefect used to let on to be angry. But the sound was ugly.Once he had washed his hands inthe lavatory of the Wicklow Hotel andhis father pulled the stopper up by the chain after and the dirty waterwent down through the hole in the basin. And when it had all gone downslowly the hole in the basin had made asound like that: suck. Onlylouder.To remember that and the white look of the lavatory made him feel coldand then hot. There were two cocks that you turned and water came out:cold and hot. He felt cold and then alittle hot: and he could see thenames printed on the cocks. That was a very queer thing.And the air in the corridor chilled him too. It was queer and wettish.But soon the gas would be lit and in burning it made a lightnoise likea little song. Always the same: and when the fellows stopped talking inthe playroom you could hear it.It was the hour for sums. Father Arnall wrote a hard sum on the boardand then said:--Now then, who willwin? Go ahead, York! Go ahead, Lancaster!Stephen tried his best, but the sum was too hard and he felt confused.The little silk badge with the white rose on it that was pinned on thebreast of his jacket began to flutter.He was no good at sums, but hetried his best so that York might not lose. Father Arnall's face lookedvery black, but he was not in a wax: he was laughing. Then Jack Lawtoncracked his fingers and Father Arnall lookedat his copybook and said:--Right. Bravo Lancaster! The red rose wins. Come on now, York! Forgeahead!Jack Lawton looked over from his side. The little silk badge with thered rose on it looked very rich because he hada blue sailor top on.Stephen felt his own face red too, thinking of all the bets about whowould get first place in elements, Jack Lawton or he. Some weeks JackLawton got the card for first and some weeks he got thecard for first.His white silk badge fluttered and fluttered as he worked at the nextsum and heard Father Arnall's voice. Then all his eagerness passed awayand he felt his face quite cool. He thought his face must bewhitebecause it felt so cool. He could not get out the answer for the sumbut it did not matter. White roses and red roses: those were beautifulcolours to think of. And the cards for first place and second place andthirdplace were beautiful colours too: pink and cream and lavender.Lavender and cream and pink roses were beautiful to think of. Perhaps awild rose might be like those colours and he remembered the song aboutthe wildrose blossoms on the little green place. But you could nothave a green rose. But perhaps somewhere in the world you could.The bell rang and then the classes began to file out of the rooms andalong the corridorstowards the refectory. He sat looking at the twoprints of butter on his plate but could not eat the damp bread. Thetablecloth was damp and limp. But he drank off the hot weak tea whichthe clumsy scullion, girt with awhite apron, poured into his cup. Hewondered whether the scullion's apron was damp too or whether all whitethings were cold and damp. Nasty Roche and Saurin drank cocoa thattheir people sent them in tins. Theysaid they could not drink the tea;that it was hogwash. Their fathers were magistrates, the fellows said.All the boys seemed to him very strange. They had all fathers andmothers and different clothes and voices. Helonged to be at home andlay his head on his mother's lap. But he could not: and so he longedfor the play and study and prayers to be over and to be in bed.He drank another cup of hot tea and Fleming said:--What'sup? Have you a pain or what's up with you?--I don't know, Stephen said.--Sick in your breadbasket, Fleming said, because your face lookswhite. It will go away.--O yes, Stephen said.But he was not sick there. Hethought that he was sick in his heart ifyou could be sick in that place. Fleming was very decent to ask him. Hewanted to cry. He leaned his elbows on the table and shut and openedthe flaps of his ears. Then he heardthe noise of the refectory everytime he opened the flaps of his ears. It made a roar like a train atnight. And when he closed the flaps the roar was shut off like a traingoing into a tunnel. That night at Dalkey the trainhad roared likethat and then, when it went into the tunnel, the roar stopped. Heclosed his eyes and the train went on, roaring and then stopping;roaring again, stopping. It was nice to hear it roar and stop and thenroarout of the tunnel again and then stop.Then the higher line fellows began to come down along the matting inthe middle of the refectory, Paddy Rath and Jimmy Magee and theSpaniard who was allowed to smoke cigarsand the little Portuguese whowore the woolly cap. And then the lower line tables and the tables ofthe third line. And every single fellow had a different way of walking.He sat in a corner of the playroom pretending towatch a game ofdominoes and once or twice he was able to hear for an instant thelittle song of the gas. The prefect was at the door with some boys andSimon Moonan was knotting his false sleeves. He was tellingthemsomething about Tullabeg.Then he went away from the door and Wells came over to Stephen andsaid:--Tell us, Dedalus, do you kiss your mother before you go to bed?Stephen answered:--I do.Wells turned to theother fellows and said:--O, I say, here's a fellow says he kisses his mother every nightbefore he goes to bed.The other fellows stopped their game and turned round, laughing.Stephen blushed under their eyes andsaid:--I do not.Wells said:--O, I say, here's a fellow says he doesn't kiss his mother before hegoes to bed.They all laughed again. Stephen tried to laugh with them. He felt hiswhole body hot and confused in a moment.What was the right answer tothe question? He had given two and still Wells laughed. But Wells mustknow the right answer for he was in third of grammar. He tried to thinkof Wells's mother but he did not dare to raisehis eyes to Wells'sface. He did not like Wells's face. It was Wells who had shouldered himinto the square ditch the day before because he would not swop hislittle snuff box for Wells's seasoned hacking chestnut, theconquerorof forty. It was a mean thing to do; all the fellows said it was. Andhow cold and slimy the water had been! And a fellow had once seen a bigrat jump plop into the scum.The cold slime of the ditch covered hiswhole body; and, when the bellrang for study and the lines filed out of the playrooms, he felt thecold air of the corridor and staircase inside his clothes. He stilltried to think what was the right answer. Was it right to kisshismother or wrong to kiss his mother? What did that mean, to kiss? Youput your face up like that to say good night and then his mother puther face down. That was to kiss. His mother put her lips on his cheek;her lipswere soft and they wetted his cheek; and they made a tinylittle noise: kiss. Why did people do that with their two faces?Sitting in the study hall he opened the lid of his desk and changed thenumber pasted up insidefrom seventy-seven to seventy-six. But theChristmas vacation was very far away: but one time it would comebecause the earth moved round always.There was a picture of the earth on the first page of his geography:abig ball in the middle of clouds. Fleming had a box of crayons and onenight during free study he had coloured the earth green and the cloudsmaroon. That was like the two brushes in Dante's press, the brush withthegreen velvet back for Parnell and the brush with the maroon velvetback for Michael Davitt. But he had not told Fleming to colour themthose colours. Fleming had done it himself.He opened the geography to study thelesson; but he could not learn thenames of places in America. Still they were all different places thathad different names. They were all in different countries and thecountries were in continents and the continents werein the world andthe world was in the universe.He turned to the flyleaf of the geography and read what he had writtenthere: himself, his name and where he was.    Stephen Dedalus    Class of Elements    ClongowesWood College    Sallins    County Kildare    Ireland    Europe    The World    The UniverseThat was in his writing: and Fleming one night for a cod had written onthe opposite page:    Stephen Dedalus is myname,    Ireland is my nation.    Clongowes is my dwellingplace    And heaven my expectation.He read the verses backwards but then they were not poetry. Then heread the flyleaf from the bottom to the top till hecame to his ownname. That was he: and he read down the page again. What was after theuniverse?Nothing. But was there anything round the universe to show where itstopped before the nothing place began?It couldnot be a wall; but there could be a thin thin line there allround everything. It was very big to think about everything andeverywhere. Only God could do that. He tried to think what a bigthought that must be; but hecould only think of God. God was God'sname just as his name was Stephen. DIEU was the French for God and thatwas God's name too; and when anyone prayed to God and said DIEU thenGod knew at once that it wasa French person that was praying. But,though there were different names for God in all the differentlanguages in the world and God understood what all the people whoprayed said in their different languages, still Godremained always thesame God and God's real name was God.It made him very tired to think that way. It made him feel his headvery big. He turned over the flyleaf and looked wearily at the greenround earth in themiddle of the maroon clouds. He wondered which wasright, to be for the green or for the maroon, because Dante had rippedthe green velvet back off the brush that was for Parnell one day withher scissors and had toldhim that Parnell was a bad man. He wonderedif they were arguing at home about that. That was called politics.There were two sides in it: Dante was on one side and his father and MrCasey were on the other side buthis mother and uncle Charles were onno side. Every day there was something in the paper about it.It pained him that he did not know well what politics meant and that hedid not know where the universe ended. He feltsmall and weak. Whenwould he be like the fellows in poetry and rhetoric? They had bigvoices and big boots and they studied trigonometry. That was very faraway. First came the vacation and then the next term andthen vacationagain and then again another term and then again the vacation. It waslike a train going in and out of tunnels and that was like the noise ofthe boys eating in the refectory when you opened and closed theflapsof the ears. Term, vacation; tunnel, out; noise, stop. How far away itwas! It was better to go to bed to sleep. Only prayers in the chapeland then bed. He shivered and yawned. It would be lovely in bed afterthesheets got a bit hot. First they were so cold to get into. Heshivered to think how cold they were first. But then they got hot andthen he could sleep. It was lovely to be tired. He yawned again. Nightprayers and then bed:he shivered and wanted to yawn. It would belovely in a few minutes. He felt a warm glow creeping up from the coldshivering sheets, warmer and warmer till he felt warm all over, ever sowarm and yet he shivered alittle and still wanted to yawn.The bell rang for night prayers and he filed out of the study hallafter the others and down the staircase and along the corridors to thechapel. The corridors were darkly lit and the chapel wasdarkly lit.Soon all would be dark and sleeping. There was cold night air in thechapel and the marbles were the colour the sea was at night. The seawas cold day and night: but it was colder at night. It was cold anddarkunder the seawall beside his father's house. But the kettle wouldbe on the hob to make punch.The prefect of the chapel prayed above his head and his memory knew theresponses:    O Lord open our lips    And ourmouths shall announce Thy praise.    Incline unto our aid, O God!    O Lord make haste to help us!There was a cold night smell in the chapel. But it was a holy smell. Itwas not like the smell of the old peasants who kneltat the back of thechapel at Sunday mass. That was a smell of air and rain and turf andcorduroy. But they were very holy peasants. They breathed behind him onhis neck and sighed as they prayed. They lived in Clane, afellow said:there were little cottages there and he had seen a woman standing atthe half-door of a cottage with a child in her arms as the cars hadcome past from Sallins. It would be lovely to sleep for one night inthatcottage before the fire of smoking turf, in the dark lit by thefire, in the warm dark, breathing the smell of the peasants, air andrain and turf and corduroy. But O, the road there between the treeswas dark! You would belost in the dark. It made him afraid to thinkof how it was.He heard the voice of the prefect of the chapel saying the lastprayers. He prayed it too against the dark outside under the trees.  VISIT, WE BESEECH THEE, OLORD, THIS HABITATION AND DRIVE  AWAY FROM IT ALL THE SNARES OF THE ENEMY. MAY THY HOLY  ANGELS DWELL HEREIN TO PRESERVE US IN PEACE AND MAY THY  BLESSINGS BE ALWAYS UPON US THROUGH