Immerse in Classic Audiobooks, then Master English
Thousands of timeless Project Gutenberg masterpieces — 100% free and completely ad-free! Experience LibriVox audio with word-by-word synchronized text, bilingual lookup, and an SRS vocabulary trainer.
ROGERS
This Man Rogers happened upon me and introduced himself at the town of -----, in the South of England, where I stayed awhile.
His stepfather had married a distant relative of mine who was afterward hanged; and so he seemed to think a blood relationship existed between us.
He came in every day and sat down and talked.
Of all the bland, serene human curiosities I ever saw, I think he was the chiefest.
He desired to look at my new chimney-pot hat.
I was very willing, for I thought he would notice the name of the great Oxford Street hatter in it, and respect me accordingly.
But he turned it about with a sort of grave compassion, pointed out two or three blemishes, and said that I, being so recently arrived, could not be expected to know where to supply myself.
Said he would send me the address of his hatter.
Then he said, “Pardon me,” and proceeded to cut a neat circle of red tissue paper; daintily notched the edges of it; took the mucilage and pasted it in my hat so as to cover the manufacturer's name.
He said, “No one will know now where you got it.
I will send you a hat-tip of my hatter, and you can paste it over this tissue circle.
” It was the calmest, coolest thing--I never admired a man so much in my life.
Mind, he did this while his own hat sat offensively near our noses, on the table--an ancient extinguisher of the “slouch” pattern, limp and shapeless with age, discolored by vicissitudes of the weather, and banded by an equator of bear's grease that had stewed through.
Another time he examined my coat.
I had no terrors, for over my tailor's door was the legend, “By Special Appointment Tailor to H. R.
H.
the Prince of Wales,” etc. I did not know at the time that the most of the tailor shops had the same sign out, and that whereas it takes nine tailors to make an ordinary man, it takes a hundred and fifty to make a prince.
He was full of compassion for my coat.
Wrote down the address of his tailor for me.
Did not tell me to mention my nom de plume and the tailor would put his best work on my garment, as complimentary people sometimes do, but said his tailor would hardly trouble himself for an unknown person (unknown person, when I thought I was so celebrated in England!
--that was the cruelest cut), but cautioned me to mention his name, and it would be all right.
Thinking to be facetious, I said:-- “But he might sit up all night and injure his health.
” “Well, let him,” said Rogers; “I've done enough for him, for him to show some appreciation of it.
” I might as well have tried to disconcert a mummy with my facetiousness.
Said Rogers: “I get all my coats there--they're the only coats fit to be seen in.
” I made one more attempt.
I said, “I wish you had brought one with you--I would like to look at it.
” “Bless your heart, haven't I got one on?
--this article is Morgan's make.
” I examined it.
The coat had been bought ready-made, of a Chatham Street Jew, without any question--about 1848. It probably cost four dollars when it was new.
It was ripped, it was frayed, it was napless and greasy.
I could not resist showing him where it was ripped.
It so affected him that I was almost sorry I had done it.
First he seemed plunged into a bottomless abyss of grief.
Then he roused himself, made a feint with his hands as if waving off the pity of a nation, and said--with what seemed to me a manufactured emotion--“No matter; no matter; don't mind me; do not bother about it.
I can get another.
” When he was thoroughly restored, so that he could examine the rip and command his feelings, he said, ah, now he understood it--his servant must have done it while dressing him that morning.
His servant!
There was something awe-inspiring in effrontery like this.
Nearly every day he interested himself in some article of my clothing.
One would hardly have expected this sort of infatuation in a man who always wore the same suit, and it a suit that seemed coeval with the Conquest.
It was an unworthy ambition, perhaps, but I did wish I could make this man admire something about me or something I did--you would have felt the same way.
I saw my opportunity: I was about to return to London, and had “listed” my soiled linen for the wash.
It made quite an imposing mountain in the corner of the room--fifty-four pieces.
I hoped he would fancy it was the accumulation of a single week.
I took up the wash-list, as if to see that it was all right, and then tossed it on the table, with pretended forgetfulness.
Sure enough, he took it up and ran his eye along down to the grand total.
Then he said, “You get off easy,” and laid it down again.
His gloves were the saddest ruin, but he told me where I could get some like them.
His shoes would hardly hold walnuts without leaking, but he liked to put his feet up on the mantelpiece and contemplate them.
He wore a dim glass breastpin, which he called a “morphylitic diamond”--whatever that may mean--and said only two of them had ever been found--the Emperor of China had the other one.
Afterward, in London, it was a pleasure to me to see this fantastic vagabond come marching into the lobby of the hotel in his grand-ducal way, for he always had some new imaginary grandeur to develop--there was nothing stale about him but his clothes.
If he addressed me when strangers were about, he always raised his voice a little and called me “Sir Richard,” or “General,” or “Your Lordship”--and when people began to stare and look deferential, he would fall to inquiring in a casual way why I disappointed the Duke of Argyll the night before; and then remind me of our engagement at the Duke of Westminster's for the following day.
I think that for the time being these things were realities to him.
He once came and invited me to go with him and spend the evening with the Earl of Warwick at his town house.
I said I had received no formal invitation.
He said that that was of no consequence, the Earl had no formalities for him or his friends.
I asked if I could go just as I was.
He said no, that would hardly do; evening dress was requisite at night in any gentleman's house.
He said he would wait while I dressed, and then we would go to his apartments and I could take a bottle of champagne and a cigar while he dressed.
I was very willing to see how this enterprise would turn out, so I dressed, and we started to his lodgings.
He said if I didn't mind we would walk.
So we tramped some four miles through the mud and fog, and finally found his “apartments”;
they consisted of a single room over a barber's shop in a back street.
Two chairs, a small table, an ancient valise, a wash-basin and pitcher (both on the floor in a corner), an unmade bed, a fragment of a looking-glass, and a flower-pot, with a perishing little rose geranium in it, which he called a century plant, and said it had not bloomed now for upward of two centuries--given to him by the late Lord Palmerston--(been offered a prodigious sum for it)--these were the contents of the room.
Also a brass candlestick and a part of a candle.
Rogers lit the candle, and told me to sit down and make myself at home.
He said he hoped I was thirsty, because he would surprise my palate with an article of champagne that seldom got into a commoner's system; or would I prefer sherry, or port?
Said he had port in bottles that were swathed in stratified cobwebs, every stratum representing a generation.
And as for his cigars--well, I should judge of them myself.
Then he put his head out at the door and called: “Sackville!
” No answer.
“Hi-Sackville!
” No answer.
“Now what the devil can have become of that butler?
I never allow a servant to--Oh, confound that idiot, he's got the keys.
Can't get into the other rooms without the keys.
” (I was just wondering at his intrepidity in still keeping up the delusion of the champagne, and trying to imagine how he was going to get out of the difficulty.
) Now he stopped calling Sackville and began to call “Anglesy.
” But Anglesy didn't come.
He said, “This is the second time that that equerry has been absent without leave.
To-morrow I'll discharge him.
” Now he began to whoop for “Thomas,” but Thomas didn't answer.
Then for “Theodore,” but no Theodore replied.
“Well, I give it up,” said Rogers.
“The servants never expect me at this hour, and so they're all off on a lark.
Might get along without the equerry and the page, but can't have any wine or cigars without the butler, and can't dress without my valet.
” I offered to help him dress, but he would not hear of it; and besides, he said he would not feel comfortable unless dressed by a practised hand.
However, he finally concluded that he was such old friends with the Earl that it would not make any difference how he was dressed.
So we took a cab, he gave the driver some directions, and we started.
By and by we stopped before a large house and got out.
I never had seen this man with a collar on.
He now stepped under a lamp and got a venerable paper collar out of his coat pocket, along with a hoary cravat, and put them on.
He ascended the stoop, and entered.
Presently he reappeared, descended rapidly, and said: “Come--quick!
” We hurried away, and turned the corner.
“Now we're safe,” he said, and took off his collar and cravat and returned them to his pocket.
“Made a mighty narrow escape,” said he.
“How?
” said I. “B' George, the Countess was there!
” “Well, what of that?
--don't she know you?
” “Know me?
Absolutely worships me.
I just did happen to catch a glimpse of her before she saw me--and out I shot.
Haven't seen her for two months--to rush in on her without any warning might have been fatal.
She could not have stood it.
I didn't know she was in town--thought she was at the castle.
Let me lean on you--just a moment--there; now I am better--thank you; thank you ever so much.
Lord bless me, what an escape!
” So I never got to call on the Earl, after all.
But I marked the house for future reference.
It proved to be an ordinary family hotel, with about a thousand plebeians roosting in it.
In most things Rogers was by no means a fool.
In some things it was plain enough that he was a fool, but he certainly did not know it.
He was in the “deadest” earnest in these matters.
He died at sea, last summer, as the “Earl of Ramsgate.
” *** END OF THE PROJECT GUTENBERG EBOOK ALONZO FITZ, AND OTHER STORIES *** Updated editions will replace the previous one—the old editions will be renamed.
Creating the works from print editions not protected by U. S.
copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!
) can copy and distribute it in the United States without permission and without paying copyright royalties.
Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark.
Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark.
If you do not charge anything for copies of this eBook, complying with the trademark license is very easy.
You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U. S.
copyright law.
Redistribution is subject to the trademark license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG™ LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg License available with this file or online at www.
gutenberg.
org/license.
Section 1.
General Terms of Use and Redistributing Project Gutenberg electronic works 1. A.
By reading or using any part of this Project Gutenberg electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement.
If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project Gutenberg electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1. E.
8. 1. B.
“Project Gutenberg” is a registered trademark.
It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project Gutenberg electronic works even without complying with the full terms of this agreement.
See paragraph 1. C below.
There are a lot of things you can do with Project Gutenberg electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg electronic works.
See paragraph 1. E below.
1. C.
The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg electronic works.
Nearly all the individual works in the collection are in the public domain in the United States.
If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed.
Of course, we hope that you will support the Project Gutenberg mission of promoting free access to electronic works by freely sharing Project Gutenberg works in compliance with the terms of this agreement for keeping the Project Gutenberg name associated with the work.
You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg License when you share it without charge with others.
1. D.
The copyright laws of the place where you are located also govern what you can do with this work.
Copyright laws in most countries are in a constant state of change.
If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg work.
The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.
1. E.
Unless you have removed all references to Project Gutenberg: 1. E.
1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg License must appear prominently whenever any copy of a Project Gutenberg work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever.
You may copy it, give it away or re-use it under the terms of the Project Gutenberg™ License included with this eBook or online at www.
gutenberg.
org.
If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.
1. E.
2. If an individual Project Gutenberg electronic work is derived from texts not protected by U. S.
copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1. E.
1 through 1. E.
7 or obtain permission for the use of the work and the Project Gutenberg trademark as set forth in paragraphs 1. E.
8 or 1. E.
9. 1. E.
3. If an individual Project Gutenberg electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1. E.
1 through 1. E.
7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg License for all works posted with the permission of the copyright holder found at the beginning of this work.
1. E.
4. Do not unlink or detach or remove the full Project Gutenberg License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg.
1. E.
5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1. E.
1 with active links or immediate access to the full terms of the Project Gutenberg License.
1. E.
6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form.
However, if you provide access to or distribute copies of a Project Gutenberg work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg website (www.
gutenberg.
org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form.
Any alternate format must include the full Project Gutenberg License as specified in paragraph 1. E.
1. 1. E.
7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg works unless you comply with paragraph 1. E.
8 or 1. E.
9. 1. E.
8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg works calculated using the method you already use to calculate your applicable taxes.
The fee is owed to the owner of the Project Gutenberg trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation.
Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns.
Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.
” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License.
You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1. F.
3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.
1. E.
9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark.
Contact the Foundation as set forth in Section 3 below.
1. F.
1. F.
1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U. S.
copyright law in creating the Project Gutenberg™ collection.
Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
1. F.
2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1. F.
3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees.
YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.
F.
3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.
1. F.
3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from.
If you received the work on a physical medium, you must return the medium with your written explanation.
The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund.
If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.
1. F.
4. Except for the limited right of replacement or refund set forth in paragraph 1. F.
3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1. F.
5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law.
The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.
1. F.
6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg work, (b) alteration, modification, or additions or deletions to any Project Gutenberg work, and (c) any Defect you cause.
Section 2.
Information about the Mission of Project Gutenberg Project Gutenberg is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.
Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg’s goals and ensuring that the Project Gutenberg collection will remain freely available for generations to come.
In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.
gutenberg.
org.
Section 3.
Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service.
The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.
S.
federal laws and your state’s laws.
The Foundation’s business office is located at 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.
gutenberg.
org/contact Section 4.
Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment.
Many small donations ( to ,000) are particularly important to maintaining tax exempt status with the IRS.
The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States.
Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements.
We do not solicit donations in locations where we have not received written confirmation of compliance.
To SEND DONATIONS or determine the status of compliance for any particular state visit www.
gutenberg.
org/donate.
While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.
International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States.
U.
S.
laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation methods and addresses.
Donations are accepted in a number of other ways including checks, online payments and credit card donations.
To donate, please visit: www.
gutenberg.
org/donate.
Section 5.
General Information About Project Gutenberg electronic works Professor Michael S. Hart was the originator of the Project Gutenberg concept of a library of electronic works that could be freely shared with anyone.
For forty years, he produced and distributed Project Gutenberg eBooks with only a loose network of volunteer support.
Project Gutenberg eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U. S.
unless a copyright notice is included.
Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.
Most people start at our website which has the main PG search facility: www.
gutenberg.
org.
This website includes information about Project Gutenberg, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.
們使瀏覽 (Local Storage) 來住您主題好、體大小、以後播目進度字本
We use browser Local Storage to remember your theme preferences, font sizes, and last played track progress, as well as vocabulary lists.
請用QR Code,即無縫接軌目入聽進度
自動分析當前章節英文文本,依據考試與難度標籤篩選重點生字,可一鍵批次匯入生字本。
請確認或修改檔案儲存名稱: