Infomotions, Inc.Our Little Korean Cousin / Pike, Henry Lee Mitchell, 1865-



Author: Pike, Henry Lee Mitchell, 1865-
Title: Our Little Korean Cousin
Publisher: Project Gutenberg
Tag(s): yung pak; pak; yung; yung pak's; wang ken; korean; wang; korea; pak's father; ken; little korean; king
Contributor(s): Bernbaum, Ernest [Editor]
Versions: original; local mirror; HTML (this file); printable
Services: find in a library; evaluate using concordance
Rights: GNU General Public License
Size: 17,918 words (really short) Grade range: 9-11 (high school) Readability score: 63 (easy)
Identifier: etext12048
Delicious Bookmark this on Delicious

Discover what books you consider "great". Take the Great Books Survey.

The Project Gutenberg EBook of Our Little Korean Cousin, by H. Lee M. Pike

This eBook is for the use of anyone anywhere 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.net


Title: Our Little Korean Cousin

Author: H. Lee M. Pike

Release Date: April 15, 2004 [EBook #12048]

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE KOREAN COUSIN ***




Produced by Million Book Project, Juliet Sutherland, and the Online
Distributed Proofreading Team.







Our Little Korean Cousin

By

H. Lee M. Pike

_Illustrated by_

L.J. Bridgman




Preface


Until very recently little has been known of the strange land in which
the subject of this tale lives. Recent events have done much to
introduce Korea and its people to the world at large. For this reason
the story of Yung Pak's youthful days may be the more interesting to his
Western cousins.

These are stirring times in Korea, and it may safely be prophesied that
the little Koreans of the present day will occupy a larger place in the
world's history than have their fathers and grandfathers. Their bright
eyes are now turned toward the light, and, under the uplifting
influences of education and civilization, the old superstitions and
antique customs are bound to give way.

Some famous Americans and Englishmen have had no small part in letting
in the light upon this dark nation, and in years to come, when Korea
shall have attained to the full stature of national strength, the names
of Rodgers, Blake, Kimberly, and many others will be held in high esteem
by the people of that country.

This little volume gives just a glimpse into the mode of life, the
habits and customs, the traditions and superstitions, of the Koreans. If
it awakens an interest in the minds of its young readers, and inspires
them with a desire for further knowledge of their cousins in this far
Eastern land, its purpose will be well served.




Contents


CHAPTER

I.    SOME QUEER THINGS
II.   YUNG PAK'S HOME
III.  A GLIMPSE OF THE KING
IV.   YUNG PAK AT SCHOOL
V.    A LESSON IN HISTORY
VI.   THE MONK'S STORY
VII.  A JOURNEY
VIII. THE MONASTERY AT CHANG-AN-SA
IX.   A FULL-FLEDGED TOP-KNOT




List of Illustrations

YUNG PAK A STREET IN SEOUL
"ALL THE BOYS SIT UPON THE FLOOR"
"HE MUST DROP TO HIS KNEES AND MAKE A PROFOUND SALUTE"
"ON THE UPPER PART OF EACH OF THESE POSTS WAS A RUDE CARVING"
"THE DAY WAS PASSED IN MUCH THE SAME MANNER AS THE PRECEDING ONE"




OUR LITTLE KOREAN COUSIN




CHAPTER I.


SOME QUEER THINGS

Yung Pak was the very queer name of a queer little boy who lived in a
queer house in a queer city. This boy was peculiar in his looks, his
talk was in a strange tongue, his clothes were odd in colour and fit,
his shoes were unlike ours, and everything about him would seem to you
very unusual in appearance. But the most wonderful thing of all was that
he did not think he was a bit queer, and if he should see one of you in
your home, or at school, or at play, he would open wide his slant eyes
with wonder at your peculiar ways and dress. The name of the country in
which this little boy lived is Korea.

One thing about Yung Pak, though, was just like little boys everywhere.
When he first came to his home in the Korean city, a little bit of a
baby, his father and mother were very, very glad to see him. Your father
and mother gave you no warmer welcome than the parents of this little
Korean baby gave to him.

Perhaps Yung Pak's father did not say much, but any one could have seen
by his face that he was tremendously pleased. He was a very dignified
man, and his manner was nearly always calm, no matter how stirred up he
might have felt in his mind. This was one of the rare occasions when his
face expanded into a smile, and he immediately made a generous offering
of rice to the household tablets.

All Koreans pay great honour to their dead parents, and tablets to
their memory are placed in some room set apart for the purpose. Before
these tablets sacrifices are offered. Yung Pak's father would have been
almost overwhelmed with terror at thought of having no one to worship
his memory and present offerings before his tablet.

It is to be feared that if, instead of Yung Pak, a little daughter had
come to this Korean house, the father and the mother would not have been
so pleased. For, strange as it may seem to you who live in homes where
little daughters and little sisters are petted and loved above all the
rest of the family, in Korea little girls do not receive a warm welcome,
though the mothers will cherish and fondle them--as much from pity as
from love. The mothers know better than any one else how hard a way the
little girl will have to travel through life.

But it is Yung Pak we want to tell you about.

As his father was a wealthy man, all the comforts and luxuries which
could be given to a Korean baby were showered on this tiny boy.

One of the queer things, though, was that he had no little cradle in
which he might be rocked to sleep. And you know that all babies,
especially little babies, sleep a great deal. So how do you suppose Yung
Pak's mother used to put him to sleep in this land where cradles were
unknown? She put him on the bed and patted him lightly on the stomach.
This she called _to-tak, to-tak_.

As Yung Pak grew older he was given many toys, among them rattles,
drums, flags, and dolls, just as you had them. Some of the toys, though,
were very peculiar ones--different from anything you ever saw. He had
little tasselled umbrellas, just like the big one his father used when
he walked out in the sun. He also had little fringed hats and toy
chariots with fancy wheels. One of Yung Pak's favourite toys was a
wooden jumping-jack with a pasteboard tongue. By pulling a string the
tongue was drawn in and a trumpet carried up to the mouth.

Another favourite toy was a tiger on wheels. Tiger-hunting, by the way,
was considered great sport by Yung Pak's father. It was a very dangerous
one, too, and sometimes lives were sacrificed in his efforts to capture
or to kill this fierce wild beast. Sometimes the animal was caught in a
trap which was nothing less than a hut of logs with a single entrance.
In the roof of the hut heavy beams would be placed on a forked stick.
The bait--a young lamb or kid--would be tied beneath the beams. The
moment the bait was touched, down would come the heavy timber--smash--on
the tiger's head.

But Yung Pak's tiger was ferocious only in looks. It was made of paper
pulp and painted with bright stripes. This harmless image of a fierce
beast Yung Pak would pull about the floor with a string by the hour.

All his pets were not of wood and paper. Real live animals he had.
Puppies and kittens, of course. His greatest pet, though, was a monkey.
What little boy ever saw a monkey that he didn't want for his own? So
when Yung Pak's father made him a present of a monkey--a real
monkey--alive--he just danced with glee.

This monkey was not a very large one,--not over a foot high,--but he
could cut capers and play tricks equal to any monkey you ever saw
travelling with an organ-grinder. He was dressed in a scarlet jacket,
and he was always with Yung Pak, except sometimes when he would try to
plague him by breaking away and running--perhaps to the house-top or to
the neighbour's garden.

After a little while Yung Pak got used to these "monkey shines," and he
knew that his pet would not stay away long after mealtime.

As Yung Pak grew older he was allowed to play with other boys of his own
age. A favourite sport was Hunting the Ring. In this game the boys would
get together quite a large heap of sand. In this sand one of them would
hide a ring, and then the urchins would all get slender sticks and poke
around in the pile trying to find the ring. Whoever succeeded in getting
the ring on his stick won the game, and carried the prize home as a sign
of victory.

Sometimes Yung Pak would be the winner, and then he would march home
with great glee and show the trophy to his father.

One of the first things Yung Pak was taught was to be respectful to his
father. Never was he allowed to fail in this duty in the least. This
does not seem strange when we know what a sober, serious, dignified man
Yung Pak's father was. It would not do to allow his son to do anything
that would upset his dignity, though he loved him very much indeed.

It was far different with the boy's mother. Her little boy soon learned
that her wishes counted for very little in the family, and she never
ventured to rebuke him, no matter how seriously he might offend her or
what naughty thing he might do.

One queer thing about Yung Pak was the way he used to wear his hair.
While still very young his head was shaved, except a little round spot
on the very crown. Here it was allowed to grow, and as years went by it
grew quite long, and was braided in two plaits down his back.

When Yung Pak grew to be a man the long hair was knotted up on top of
his head, and for this reason many people call Koreans "Top-knots." But
of this arrangement of the hair we shall tell more farther on.




CHAPTER II.


YUNG PAK'S HOME

Ki Pak, Yung Pak's father, was one of the king's officials. On this
account his home was near the great palace of the king, in the city of
Seoul, the capital of the country.

This city did not look much like the ones in which you live. There were
no wide streets, no high buildings, no street-cars. Instead, there were
narrow, dirty lanes and open gutters. Shopkeepers not only occupied both
sides of the crowded streets, but half their wares were exposed in and
over the dirty gutters. Grain merchants and vegetable dealers jostled
each other in the streets themselves. In and about among them played the
boys of the city, not even half-clothed in most cases. There were no
parks and playgrounds for them such as you have. Often, too, boys would
be seen cantering through the streets, seated sidewise on the bare backs
of ponies, caring nothing for passers-by, ponies, or each
other--laughing, chatting, eating chestnuts. Other boys would be
carrying on their heads small round tables covered with dishes of rice,
pork, cabbage, wine, and other things.

[Illustration: A STREET IN SEOUL]

Around the city was a great wall of stone fourteen miles in length. In
some places it clung to the edges of the mountains, and then dropped
into a deep ravine, again to climb a still higher mountain, perhaps. In
one direction it enclosed a forest, in another a barren plain. Great
blocks were the stones, that had been in place many, many years. It must
have taken hundreds and thousands of men to put them in position, and,
though the wall was hundreds of years old, it was still well preserved.
It was from twenty-five to forty feet high. The wall was hung from one
end of the city to the other with ivy, which looked as if it had been
growing in its place centuries before Yung Pak was born.

In the wall were eight gates, and at each one a keeper was stationed at
all hours of the day and night. No persons could come in or go out
unless their business was known to those who had charge of the passage.

Every evening, at sunset, the gates were closed, and during the night no
one was allowed to pass through in either direction.

A curious ceremony attended the closing of these gates. They were never
shut till the king had been notified that all was well on the north, on
the south, on the east, and on the west. As there were no telegraph
lines, another way had to be provided by which messages might be quickly
sent. Bonfires upon the surrounding hills were used as signals. By
these fires the king was told if all were well in his kingdom, and every
evening, as soon as the sun was set, four beacon-fires on a hill within
the walls told the news as it was flashed to them from the mountains
outside. Then four officers, whose business it was to report to the king
the message of the fires, hastened to him, and with great ceremony and
much humility announced that all was well. On this the royal band of
music would strike up its liveliest airs, and a great bell would toll
its evening warning. This bell was the third largest in the world, and
for five centuries it had given the signal for opening and closing the
gates of Seoul, the chief city of the "Land of the Morning Radiance."

At the stroke of the bell, with a great clang the gates were shut, and
strong bars were placed across the inner sides, not to be removed until
at early dawn the bell again gave its signal to the keepers.

To little Yung Pak, the loud tones of the bell meant more even than to
the sentinels at the gates. He knew that not only was it a signal for
the closing of the city gates, but it was also a warning that bedtime
was at hand.

The house in which Yung Pak lived was a very fine one, although the
grounds were not as spacious as those of many houses in the outskirts of
the city. But its walls were of stone, whereas many of the houses of
Seoul had walls of paper.

Yes, actually walls of paper!

But this paper was a very tough, fibrous substance, and would resist
quite a heavy blow as well as keep out the cold. Its slight cost brought
it within the means of the poorer people.

In some parts of Korea the houses were built of stout timbers, the
chinks covered with woven cane and plastered with mud. Neat hedges of
interlaced boughs surrounded them. The chimney was often simply a
hollow tree, not attached to the house.

Ki Pak's house was not only built of stone, but about it were four walls
of stone, about five feet high, to help keep out intruders. The wall was
surmounted by a rampart of plaited bamboo. In this wall were three
gates, corresponding to entrances into the house itself. One gate, the
largest, on the north side, was used only by Ki Pak himself, though
after he grew older Yung Pak could enter this gate with his father. The
second gate, on the east, was used by the family and friends of Ki Pak.
The third and smallest gate was reserved for the use of the servants.

The roof of this house was not covered with shingles, but with clay
tiles, coloured red. Many houses in the city had simply a roof-covering
of thatched straw.

The house was but a single story high, but in this respect the king's
palace itself was no better. There were three divisions to the house.
One was for the use of the men, a second for the women of the family,
and a third for the servants. Each division had a suitable number of
rooms for its occupants.

Yung Pak's own sleeping-room was a dainty affair, with its paper walls,
tiger-skin rugs upon the stone floor, and the softest of mats and silk
and wadded cotton coverings for his couch.

This couch, by the way, was another queer affair. It was built of brick!
Beneath it were pipes or flues connected with other pipes which ran
beneath the whole house. Through these flues were forced currents of hot
air from a blaze in a large fireplace at one end of the house. The
chimney was at the other end, and thus a draught of hot air constantly
passed beneath the floors in cold weather. On warm nights Yung Pak would
pile his mats upon the floor and sleep as comfortably as ever you did
on the softest feather bed your grandmother could make.

The windows of Ki Pak's house were not made of glass, but were small
square frames covered with oiled paper. These frames fitted into grooves
so that they could be slid back and forth, and in warm weather the
windows were always left open. The doors were made of wood, though in
many houses paper or plaited bamboo was used.

When Yung Pak ate his meals, he sat upon a rug on the floor with his
father and such male guests as might be in the house. The women never
ate with them. Their meals were served in their own rooms.

A servant would bring to each person a _sang_, or small low table.
Instead of a cloth, on each table was a sheet of fine glazed paper which
had the appearance of oiled silk. This paper was made from the bark of
the mulberry-tree. It was soft and pliable, and of such a texture that
it could be washed easier than anything else, either paper or cloth. On
this were placed dishes of porcelain and earthen ware. There were no
knives or forks, but in their place were chop-sticks such as the Chinese
used. Spoons also were on the table. A tall and long-spouted teapot was
always the finest piece of ware.

On the dining-tables of the poorer people of Korea the teapot was never
seen, for, strange as it may seem, in this land situated between the two
greatest tea-producing countries of the world, tea is not in common use.

All Koreans have splendid appetites, and probably if you should see Yung
Pak eating his dinner you would criticize his table manners. He not only
ate a large amount of food, but ate it very rapidly--almost as if he
feared that some one might steal his dinner before he could dispose of
it. And you would think that he never expected to get another square
meal!

But it was not Yung Pak's fault that he was such a little glutton. In
his youngest days, when his mother used to regulate his food, she would
stuff him full of rice. Then she would turn him over on his back and
paddle his stomach with a ladle to make sure that he was well filled!




CHAPTER III.


A GLIMPSE OF THE KING

Yung Pak's earliest days were spent very much as are those of most
babies, whether they live in Korea or America. Eating and sleeping were
his chief occupations.

When he grew old enough to run about, his father employed for him a
servant, Kim Yong, whose business it was to see that no harm came to the
child. For several years the two were constantly together, even sleeping
in the same room at night.

Once when Yung Pak and his attendant were out for their daily walk their
attention was attracted by the sound of music in the distance.

"What is that music?" asked Yung Pak.

"That is the king's band. It must be that there is going to be a
procession," was Kim Yong's reply.

"Oh, I know what it is," said Yung Pak. "The king is going to the new
Temple of Ancestors. My father said the tablets on which the king's
forefathers' names are engraved are to be put in place to-day."

"Let us hurry so as to get into a place where we can have a good view of
the procession."

"Yes, we will; for father told me that this is to be an extra fine one,
and he is to be in it himself. I want to see him when he goes by."

By this time Yung Pak and Kim Yong were running as fast as their flowing
garments and their dignity would allow them. And everybody else, from
the dirtiest street boy to the gravest old man, was hurrying toward the
palace gate through which the procession was to come. Yung Pak and Kim
Yong were fortunate enough to get a position where they could see the
palace gate, and the procession would have to pass by them on its way to
the temple.

Meanwhile the band inside the palace walls kept up its music, and the
people outside could also hear the shouts of officers giving their
orders to guards and soldiers.

Soon there was an extra flourish of the music, and the gate, toward
which all eyes had been strained, was suddenly flung wide open with a
great clang.

Hundreds of soldiers already lined the streets to keep the crowd back
out of the way of the procession.

First through the gate came a company of Korean foot-soldiers, in blue
uniforms. Directly after them came a lot of palace attendants in curious
hats and long robes of all colours of the rainbow. Some were dressed in
blue, some in red, some in orange, some in yellow, some in a mixture of
colours. All carried staves bound with streamers of ribbons.

Following the attendants came a line of bannermen, with red flags, on
which were various inscriptions in blue; then came drummers and
pipe-players dressed in yellow costumes, their instruments decked with
ribbons.

Yung Pak next saw more soldiers, dressed in the queerest of ancient
costumes; afterward came men with cymbals and bells, cavalrymen on foot,
and more palace attendants. Through the whole line were seen many
officials, gaudily adorned with plumes, gold lace, gilt fringe, swords,
and coloured decorations of all sorts. Many of the officials had on
high-crowned hats decorated with bunches of feathers and crimson
tassels. These were fastened by a string of amber beads around the
throat. Blue and orange and red were the colours of their robes. Then
followed more bannermen, drummers, and servants carrying food, fire, and
pipes.

All the time there was a tremendous beating of drums and blowing of
horns and ringing of bells. The noise was so great that Kim Yong hardly
heard Yung Pak when he shouted:

"Oh, I see papa!"

"Where is he?"

"Don't you see him right behind that little man in yellow who is
carrying a big blue flag?"

"Oh, yes," said Kim Yong. "He has on a long green robe, and on his
turban are long orange plumes."

"Yes; and on both sides of him, in green gauze coats, are his servants.
I wonder if he will notice us as he goes by."

"Indeed he will not. At least, if he does see us, he will give no sign,
for this is too solemn and important an occasion for him to relax his
dignity."

On state occasions Ki Pak could look as sedate and dignified as the most
serious official in all Korea; and that is saying a good deal, for in
no country do the officials appear more solemn than in this "Land of the
Morning Radiance."

Now along came more soldiers, followed by the great nobles of the
kingdom, and finally, amid a most terrific beating of drums, a fearful
jangling of bells, and a horrid screaming of pipes, the guard of the
king himself appeared.

Suddenly all was silent. Drum-beating, pipe-blowing, and shouting all
died away. The sound of hurried footsteps alone was heard. All at once
into sight came the imperial chair of state. In this chair was the king,
but not yet could Yung Pak get a glimpse of his royal master. Yellow
silken panels hid him from the view of the curious crowd, and over the
top was a canopy of the same description, ornamented with heavy, rich
tassels.

This gorgeous chair was much heavier than those used by officials and
ordinary citizens, and it took thirty-two men to carry it quickly and
safely past the throng to the entrance of the temple. Only a few minutes
were necessary for this journey, for the temple was but a short distance
from the palace gate, and both were in plain sight of Yung Pak and Kim
Yong.

It was only a fleeting glimpse of the king that they got, as he passed
from his chair to the temple gate; but this was enough to repay Yung Pak
for the rushing and the crowding and the waiting that he had been
obliged to endure. Rare indeed were these glimpses of his Majesty, and
they afforded interest and excitement enough to last a long while.

But the procession was not over yet. A chair covered with red silk,
borne on the shoulders of sixteen chair-men, passed up to the temple.

"Who is in that chair?" asked Yung Pak of his companion.

"The crown prince," was Kim Yong's reply.

"He attends his royal father in all these ceremonies of state."

Yung Pak drew a long breath, but said nothing. He only thought what a
fine thing it must be to be a king's son, and wear such gorgeous
clothes, and have so many servants at his call.

And then he had a second thought. He would not want to exchange his
splendid father for all the glory and magnificence of the king's court.

After the king and the crown prince, with their attendant officials and
servants and priests, had gone into the temple, Yung Pak and Kim Yong
did not stay longer at their post. The order of the procession had
broken, and the king and his immediate retinue would return privately to
the palace after he should pay homage and offer sacrifice to the spirits
of his ancestors.




CHAPTER IV.


YUNG PAK AT SCHOOL

Little Korean boys have to go to school, just as you do, though they do
not study in just the same way. You would be surprised if you were to
step into a Korean schoolroom. All the boys sit upon the floor with
their legs curled up beneath them. Instead of the quiet, silent
scholars, you would hear a loud and deafening buzz. All the pupils study
out loud. They not only do their studying aloud, but they talk very
loud, as if each one were trying to make more noise than his neighbour.

The Koreans call this noise _kang-siong_, and it seems almost deafening
to one unused to it. You would think the poor teacher would be driven
crazy, but he seems as calm as a daisy in a June breeze.

[Illustration: "ALL THE BOYS SIT UPON THE FLOOR"]

The Korean boys have to have "tests" and examinations just as you do.
When a lad has a good lesson, the teacher makes a big red mark on his
paper, and he carries it home with the greatest pride,--just as you do
when you take home a school paper marked "100."

But Yung Pak was not allowed to share the pleasures and the trials of
the boys in the public school.

One day, soon after he was six years old, his father sent for him to
come to his private room,--perhaps you would call it a study or library.
With Yung Pak's father was a strange gentleman, a young man with a
pleasant face and an air of good breeding.

"This," said Ki Pak to his son as he entered the room, "is Wang Ken. I
have engaged him to be your teacher, or tutor. The time has come for you
to begin to learn to read and to cipher and to study the history and
geography of our country."

Yung Pak made a very low bow, for all Korean boys are early taught to be
courteous, especially to parents, teachers, and officials.

In this case he was very glad to show respect to his new tutor, for he
liked his appearance and felt sure that they would get on famously
together. More than that, though he liked to play as well as any boy, he
was not sorry that he was going to begin to learn something. Even at his
age he had ambitions, and expected that sometime he would, like his
father, serve the king in some office.

Wang Ken was equally well pleased with the looks of the bright boy who
was to be his pupil, and told Yung Pak's father that he believed there
need be no fear but what they would get on well together, and that the
boy would prove a bright scholar.

To Wang Ken and his pupil were assigned a room near Ki Pak's library,
where Yung Pak would spend several hours each day trying his best to
learn the Korean A B C's.

The first book he had to study was called "The Thousand Character
Classic." This was the first book that all Korean boys had to study, and
was said to have been written by a very wise man hundreds of years ago.
A strange thing about it was that it was composed during one night, and
so great was the wise man's struggle that his hair and beard turned
white during that night. When Yung Pak was told this fact he was not a
bit surprised. He thought it was hard enough to have to learn what was
in the book, to say nothing of writing it in the beginning.

At the same time that Yung Pak was learning to read, he was also
learning to write. But you would have been amused if you could have seen
his efforts. The strangest thing about it was that he did not use a pen,
but had a coarse brush on a long handle. Into the ink he would dip this
brush and then make broad marks on sheets of coarse paper. You would not
be able to understand those marks at all. They looked like the daubs of
a sign-painter gone crazy.

Later on, Yung Pak had to study the history and geography of his
country. Some of the names he had to learn would amuse you very much.
The name of the province of Haan-kiung, for instance, meant Perfect
Mirror, or Complete View Province. Kiung-sang was the Korean name for
Respectful Congratulation Province, and Chung-chong meant Serene Loyalty
Province. One part of Korea, where the inhabitants were always peaceable
and unwarlike, was called Peace and Quiet Province, or, in the Korean
language, Ping-an.

Under Wang Ken's instruction Yung Pak made rapid progress in his
studies, and when the boy's father questioned him from time to time as
to what he had learned, he was very much pleased, and commended his son
for his close attention to his studies.

"Sometime," Ki Pak said to the boy, "if you continue to make such good
progress in your studies, you will be able to hold a high position in
the service of the king."

In explanation of this remark, you should understand that no young man
was able to enter into the government service of Korea until he could
pass a very hard examination in many studies.

Many things besides book-learning did Wang Ken teach his pupil. In all
the rules of Korean etiquette he was carefully and persistently drilled.

As you have already been told, Yung Pak had from his earliest days been
taught the deepest reverence and honour for his father. This kind of
instruction was continued from day to day. He was told that a son must
not play in his father's presence, nor assume free or easy posture
before him. He must often wait upon his father at meal-times, and
prepare his bed for him. If the father is old or sickly, the son sleeps
near him by night, and does not leave his presence by day. If for any
reason the father is cast into prison, the son makes his home near by in
order that he may provide such comforts for his unfortunate parent as
the prison officials will allow.

If, by chance, the father should be banished from the country for his
misdeeds, the son must accompany him at least to the borders of his
native land, and in some instances must go with him into exile.

When the son meets his father in the street, he must drop to his knees
and make a profound salute, no matter what the state of the roadway. In
all letters which the son writes to his father he uses the most exalted
titles and honourable phrases he can imagine.

[Illustration: HE MUST DROP TO HIS KNEES AND MAKE A PROFOUND SALUTE]




CHAPTER V.


A LESSON IN HISTORY

As you already know, Yung Pak's father intended that his son, when he
grew up, should fill a position in the service of the king. To fit him
for this work, it was important that the boy should learn all that he
could of his country's history.

On this account Yung Pak's tutor had orders to give to the lad each day,
during the hours devoted to study, some account of events in the rise
and progress of the Korean nation or of its royal families.

You must know that Korea is a very old country, its history dating back
hundreds of years before America was discovered by Christopher Columbus.

Now Wang Ken knew that dry history had very few attractions for his
young pupil, or any lively boy for that matter, so as far as possible he
avoided the repetition of dates and uninteresting events, and often gave
to Yung Pak much useful information in story form.

One day, when the time came for the usual history lesson, Wang Ken said
to Yung Pak:

"I think that to-day I will tell you the story of King Taijo."

At this Yung Pak's eyes sparkled, and he was all attention in a moment.
He thought one of Wang Ken's stories was a great deal better than
puzzling over Korean letters or struggling with long strings of figures.
The tutor went on:

"When Taijo was born, many, many years ago, our country was not called
Korea, but had been given the name of Cho-sen."

Yung Pak had been told that Cho-sen meant Morning Calm, so he asked Wang
Ken how it came about that such a peaceful name had been given to his
country.

"Why," said Wang Ken, "the name was given to our land years and years
ago by the leader of some Chinese settlers, whose name was Ki Tsze. In
his native land there had been much violence and war, so with his
friends and followers he moved to the eastward and selected this country
for his home. Here he hoped to be free from the attacks of enemies and
to be able to live a peaceful life. For this reason he chose a name
which well expressed its outward position--toward the rising sun--and
his own inward feelings,--Cho-sen, or Morning Calm. This is still the
official name of our country.

"But to come back to our story of Taijo. At the time of his birth, the
rulers of the country were very unpopular because of their wickedness
and oppression of the people. There was much suffering on account of the
misrule, and the people longed for a deliverer who should restore
prosperity to Cho-sen.

"Such a deliverer appeared in the person of Taijo. It is said that even
as a boy he surpassed his fellows in goodness, intelligence, and skill
in all sorts of boyish games."

Wang Ken improved this opportunity to tell Yung Pak how important it was
that all boys should follow such an example.

But while Yung Pak listened with apparent patience, he could hardly
conceal his inward desire that the tutor would go on with his story.
Like most boys, of all races, he felt that he could get along without
the moralizing.

"Hunting with the falcon was one of Taijo's favourite sports. One day,
while in the woods, his bird flew so far ahead that its young master
lost sight of it. Hurrying on to find it, Taijo discovered a hut beside
the path, into which he saw the falcon fly.

"Entering the hut, the youth found a white-bearded hermit priest, who
lived here alone and unknown to the outside world. For a moment Taijo
was speechless with surprise in the presence of the wise old hermit.

"Seeing his embarrassment, the old man spoke to him in these words:

"'What benefit is it for a youth of your abilities to be seeking a stray
falcon? A throne is a richer prize. Betake yourself at once to the
capital.'

"Now Taijo knew how to take a hint as well as any boy, so he immediately
left the hut of the hermit, forsaking his falcon, and went to Sunto,
then the capital of the kingdom.

"As I have already told you, Taijo was a wise youth. He did not rush
headlong into the accomplishment of the purpose hinted at by the hermit.
Had he done so, and at that time attempted to dethrone the king, he
would certainly have been overpowered and slain.

"He took a more deliberate and sensible way. First he enlisted in the
army of the king. As he was a young man of courage and strength, he was
not long in securing advancement. He rapidly rose through the various
grades, until he finally held the chief command of the army as
lieutenant-general.

"Of course Taijo did not reach this high station in a month, nor in a
year, but many years went by before he attained such an exalted place.
Meanwhile he married and had children. Several of these children were
daughters."

Wang Ken did not say right here, what he might have said with
truth,--that in Korean families girls are considered of very little
consequence. But in this case Taijo's daughter proved to be of much help
in making her father the king of Cho-sen.

"One of these daughters was married to the reigning king. Thus Taijo
became father-in-law to his sovereign. You can easily see that in this
relationship he must have had a large influence both over the king and
over the people.

"Being a brave man and courageous fighter, Taijo was idolized by his
soldiers. He was also very popular with all the people because he was
always strictly honest and just in all his dealings with them.

"Taijo proved his bravery and his reliance on the soldiers and on the
people by attempting to bring about a change in the conduct of the king,
who abused his power and treated his subjects without mercy.

"The king, however, refused to listen to the advice of his
father-in-law, and, as a consequence, the hatred of the people for him
grew in volume and force every day.

"Meanwhile, the king was having other troubles. In former years, Korea
had paid an annual tribute or tax to China, but for some time it had
been held back by this king. Consequently the Chinese (or Ming) emperor
sent a large army to enforce his demand for the amount of money due him.

"The Korean ruler neglected the matter and finally refused to pay. He
then ordered that more soldiers be added to his army, that the Chinese
forces might be resisted; but with all his efforts the enemy's army was
much the larger. Nevertheless, he ordered Taijo, at the head of his
forces, to attack the Chinese. Upon this, Taijo thus addressed his
soldiers:

"'Although the order from the king must be obeyed, yet the attack upon
the Ming soldiers, with so small an army as ours, is like casting an egg
against a rock, and no one of us will return alive. I do not tell you
this from any fear of death, but our king is too haughty. He does not
heed our advice. He has ordered out the army suddenly without cause,
paying no attention to the suffering which wives and children of the
soldiers must undergo. This is a thing I cannot bear. Let us go back to
the capital, and the responsibility shall fall on my shoulders alone.'

"The soldiers were quite willing to take the advice of their courageous
leader, and resolved to obey his orders rather than the king's. They
went to the capital, forcibly removed the king from his throne, and
banished him to the island of Kang-wa.

"Not yet, however, was Taijo made king. The deposed ruler plotted and
planned all kinds of schemes whereby he might be restored to his old
position of authority. Taijo heard of some of his plots, and finally did
that which would for ever extinguish the authority of the old king or
any of his family. He removed from the temple the tablets on which were
inscribed the names of the king's ancestors. More than this, he ordered
that no more sacrifices be offered to them.

"The king could have suffered no greater insult than this, for, like
all Koreans, he held as sacred the memory of his ancestors, and even to
speak ill of one of them was an unpardonable crime. But this time he was
powerless to resent the indignity or to punish the offender, and
consequently he lost what little influence he had been able to retain.

"Taijo was now formally proclaimed king. He was able to make peace with
the Chinese emperor, and under his rule the Koreans enjoyed freedom from
war and oppression. His descendants still sit upon the throne of Korea."




CHAPTER VI.


THE MONK'S STORY

One evening, after Yung Pak had finished his supper, he sat talking with
his father and Wang Ken.

The early evening hour was often spent in this way. It was a time of day
when Ki Pak was generally free from any official duty, and he was glad
to devote a little time to his son. He would inquire about the boy's
studies as well as about his sports, and Yung Pak would regale his
father with many an amusing incident or tell him something he had
learned during study hours. Sometimes he would tell of the sights he had
seen on the streets of Seoul, while on other occasions he would give
account of games with his playmates or of his success in shooting with a
bow and arrow.

This latter sport was very common with the men and boys of Korea. It was
approved by the king for the national defence in time of war, and often
rewards were offered by rich men for winners in contests. Most Korean
gentlemen had private archery grounds and targets in the gardens near
their houses.

Ki Pak had an arrow-walk and target in his garden, and here it was that
Yung Pak used to practise almost daily. He often, too, invited other
boys to enjoy the sport with him.

At regular times every year public contests in arrow-shooting were held,
and costly prizes were offered to the winners by the king. The prizes
were highly valued by those who secured them, and Yung Pak looked
forward with eager anticipation to the day when he should be old enough
and skilful enough to take part in these contests.

While Yung Pak was listening to the conversation between his father and
tutor on this evening, a knock was heard.

On opening the door there was seen standing at the entrance a man rather
poorly clad in the white garments worn by nearly all the people of
Korea. But upon his head, instead of the ordinary cone-shaped hat worn
by the men of the country, was a very peculiar structure. It was made of
straw and was about four feet in circumference. Its rim nearly concealed
the man's face, which was further hidden by a piece of coarse white
linen cloth stretched upon two sticks and made fast just below the eyes.

This method of concealing the face, together with the wearing of the
immense hat, was a symbol of mourning. Such a sight was not uncommon in
the streets of Seoul, and Yung Pak knew well its meaning.

With great courtesy and hospitality Ki Pak invited the stranger within
the house.

"I thank you for your kindness," said the visitor. "I am a stranger in
your city, a monk from a monastery in Kong-chiu. Your peculiar law not
allowing men upon the street after nightfall compels me to seek
shelter."

"To that you are entirely welcome, my friend," said Ki Pak, whose
hospitable nature would have granted the monk's request, even if
sympathy for sorrow and reverence for religion had not also been motives
for his action.

"Let me get the man something to eat," said Yung Pak as the monk seated
himself upon a mat.

"Certainly, my son; it is always proper to offer food to a guest who
takes refuge under our roof."

Quickly the boy sought his mother in the women's apartments, and very
soon returned with a steaming bowl of rice, which he placed before the
visitor.

This gift of rice was especially pleasing to the traveller, as no dish
is held in higher honour in Korea. It is the chief cereal, and the
inhabitants say it originated in Ha-ram, China, nearly five thousand
years ago. Yung Pak called it Syang-nong-si, which means Marvellous
Agriculture. He had learned from Wang Ken that it was first brought to
Korea in 1122 B.C.

To the monk the warm food was very refreshing, and after he had eaten a
generous amount he entered into conversation with his hosts.

He told of the monastery where he made his home, and his account of the
various religious ceremonies and their origin was very interesting to
Yung Pak, who found that the visitor not only knew a great deal of the
history of the country, but was also familiar with its fables and
legends.

Like many who live in retirement and dwell in a world apart from their
fellows, this monk thought the people of former times were superior to
the men of his own day. Especially did he praise the kings of years long
gone by.

"Do you think," said Yung Pak, "that the old kings were any better than
our own gracious ruler?"

Yung Pak was very jealous of the honour of his king.

"Why, yes," replied the monk. "And to prove my statement let me tell you
a story:

"Many years ago there was in Cho-sen a king named Cheng-chong. He was
celebrated throughout his kingdom for his goodness. It was a habit with
him to disguise himself in ordinary clothing and then to go out and
mingle with the common people. In this way he was often able to
discover opportunities for doing much good to his subjects.

"One night Cheng-chong disguised himself as a countryman, and, taking a
single friend along, started out to make a tour of inspection among his
people, that he might learn the details of their lives.

"Coming to a dilapidated-looking house, he suspected that within there
might be miserable people to whom he could render assistance. Desiring
to see the inside of the house, he punched a peep-hole in the paper
door. Looking through this hole, the king perceived an old man weeping,
a man in mourning garb singing, and a nun or widow dancing.

"Cheng-chong was unable to imagine the cause of these strange
proceedings, so he asked his companion to call the master of the house.

"In answer to the summons, the man in mourning made his appearance. The
king, with low and respectful salutation, said:

"'We have never before met.'

"'True,' was the reply, 'but whence are you? How is it that you should
come to find me at midnight? To what family do you belong?'

"Cheng-chong answered: 'I am Mr. Ni, living at Tong-ku-an. As I was
passing before your house I was attracted by strange sounds. Then
through a hole in the door I saw an old man crying, a dancing nun, and a
man in mourning singing. Why did the nun dance, the bereaved man sing,
and the old man weep? I have called you out on purpose to learn the
reason of these things.'

"'For what reason do you pry into other people's business?' was the
question in reply. 'This is little concern to you. It is past midnight
now, and you had better get home as soon as you can.'

"'No, indeed. I admit that it seems wrong for me to be so curious in
regard to your affairs, but this case is so very extraordinary that I
hope you will not refuse to tell me about it. You may be sure that I
shall not betray your confidence.'

"'Alas! why such persistence in trying to learn about other people's
business?'

"'It is very important,' replied the king, 'that I should obtain the
information I have asked of you. Further than that I cannot explain at
present.'"

Yung Pak wanted to interrupt the storyteller here and say that he did
not blame the man for objecting to telling his private business, but he
had early been taught that it was highly improper for a Korean boy to
break into the conversation of his elders.

The monk continued:

"'As you are so urgent in your desire to know the cause of the strange
proceedings you have witnessed, I will try to tell you. Poverty has
always been a burden upon my family. In my house there has never been
sufficient food for a solid meal, and I have not land enough even for an
insect to rest upon. I cannot even provide food for my poor old father.
This is the reason why my wife, from time to time, has cut off a portion
of her hair and sold it for an amount sufficient to buy a bowl of bean
soup, which she has generously given to my father. This evening she cut
off and sold the last tress of her hair, and thus she is now bald as a
nun.'"

Yung Pak already knew that Korean women who devote their lives to
religious service kept their hair closely clipped, so the monk did not
need to explain his reference to a bald-headed nun.

"'On this account," said the man to Cheng-chong, 'my father broke out
into mourning in these words:

"'"Why have I lived to this age? Why did I not die years ago? Why has
this degradation come to my daughter-in-law?" Tears accompanied his
words. My wife and I tried to console him, and, besides urging him not
to weep, she danced for his amusement. I also danced and sang, and thus
we diverted the old man's thoughts and caused him to smile. That is the
true reason of our queer behaviour. I trust you will not think it
strange, and will now go away and leave us to our sorrow.'

"The king was very much impressed by the man's story, particularly with
the evidence of such great devotion to his father, even in the time of
poverty and misfortune. So he said: 'This is really the most
extraordinary instance of filial love that I ever saw. I think you
should present yourself at the examination to-morrow.'

"'What examination?'

"'Why, there is to be an examination before the king of candidates for
official position. You know that all officials have to pass an
examination before they can receive an appointment. Be sure to be
there, and you may be fortunate enough to secure a position which will
remove all fear of poverty from your household.'

"Having thus spoken, Cheng-chong bade the man good night and went at
once to his palace.

"Very early in the morning he caused proclamation to be made that an
examination would be held that day, at a certain hour. Notwithstanding
the brief time for preparation, when the hour arrived a large number of
men presented themselves at the king's palace as candidates.

"In the crowd was the poor man whom the king, in his disguise, had
talked with the night before. Though he understood little of the matter,
he felt that his visitor of the previous night must have known perfectly
about it.

"When all had assembled, the following was announced as the subject of
the examination: 'The song of a man in mourning, the dance of a nun, the
tears of an old man.'

"With the exception of the poor man, not a single one of the candidates
was able to make a bit of sense out of the subject. He alone knew it
perfectly well, because of his own personal sad experience. Consequently
he was able to turn in a clear essay upon the subject, which, upon
examination, the king found to be free from error.

"Cheng-chong then bestowed the degree of doctor upon the man, and
ordered that he be brought into his presence.

"Upon the man's appearance, the king asked: 'Do you know who I am? It is
I who last night advised you to be present at this examination. Raise
your head and look at me.'

"With fixed gaze the man looked at the king, and recognized his
benefactor. He at once bowed himself to the ground in gratitude, and in
words of the most humble sort returned his thanks.

"'Go at once,' said Cheng-chong, 'and return to your wife and old
father. Make them happy with the good news you have for them.'

"This story of royal generosity has been handed down from generation to
generation, and I give it to you," concluded the monk, "as an example of
the goodness of our ancient kings and the rich inheritance we have from
them. True devotion to parents has never been unrewarded in Korea."

His story concluded, the monk expressed a desire to retire for the
night. At Ki Pak's command a servant led him to a sleeping-room. Yung
Pak and the other members of the family also retired, and were soon
buried in peaceful slumber.




CHAPTER VII.


A JOURNEY

It sometimes happened that Ki Pak, in performing his official duties,
was obliged to make long journeys to various parts of Korea. One of Yung
Pak's greatest pleasures was to listen to the stories which his father
used to tell him about these journeys.

When Ki Pak made one of these trips through the country he could not
ride on the cars as you do, for there were no railways, with puffing
engines and comfortable coaches; neither could he take a carriage drawn
by swift and strong horses, for they too were unknown by the Koreans.
Even if he had possessed horses and carriage, there were few roads over
which they could have been driven. Most of the highways were simply
rough paths, over which men usually travelled on foot or on the backs of
ponies up and down the hills of the country. It was generally necessary
to cross rivers by fording, though, where the water was too deep for
this, rude and clumsy ferry-boats were provided. Occasionally, over a
narrow stream, a frail footbridge would be built.

You can easily imagine Yung Pak's joy and surprise one day when his
father told him that he proposed to take his little son on his next
journey.

Ki Pak had been ordered by the king to go to Chang-an-sa, a city among
the Diamond Mountains, near the eastern coast of Korea, and about eighty
miles from Seoul. In this place was a famous monastery, or temple, which
would be an object of much interest and wonder to Yung Pak.

It was decided, also, that Wang Ken should be one of the party. He
would be able to explain to Yung Pak many things they might see on the
way.

There was much to do to get ready for the journey. It would take four
days to cover the distance, and, as hotels were unknown along the route,
it was necessary to take along a good supply of provisions, bedding,
cooking utensils, and all sorts of things they might need while absent
from home.

In addition to getting together all this material, ponies and drivers
had to be engaged. Sometimes, when Ki Pak went on short journeys, he was
carried in a chair by strong men, who by much practice had become able
to endure the fatigue of travel, and of bearing heavy burdens. This
chair was very different from the kind you have in your houses. Even a
comfortable rocker would not be very nice in which to take a long
journey.

The Korean traveller's chair consists of a boxlike frame, of such
height that one may sit within in Turkish fashion upon the floor. The
roof is of bamboo, covered with painted and oiled paper. The sides also
are covered with oiled paper or muslin. In some cases a small stained
glass window is set in the side or front, but only rich men can afford
this luxury. The curtain in front can be raised or lowered. This serves
the double purpose of shutting out the glances of the curious and
keeping out the cold air. When the owner can afford it, an ample supply
of cushions and shawls makes the clumsy vehicle more comfortable for its
occupant.

The chair rests upon two long poles, which hang by straps upon the
shoulders of four stout men. Under ordinary circumstances these men can
travel with their burden from twenty to thirty miles a day.

Sometimes, also, when Yung Pak's father went about the streets of
Seoul, he rode in a chair very similar to the one just described. The
only difference was that it rested on a framework attached to a single
wheel directly underneath. This cross between a wheelbarrow and a
sedan-chair was supported and trundled along the street by four bearers.

On this journey, however, Yung Pak and his companions were to ride on
ponies.

The Korean ponies are small, fine-coated animals, little larger than
Shetland ponies. They are very tough and strong, and can endure long
marches with little food. They are sometimes obstinate and are desperate
fighters, squealing and neighing on all occasions. They often attack
other ponies, and never become friendly with each other on a journey. In
their attacks upon one another loads are forgotten and often seriously
damaged. Notwithstanding, they bear with much patience a great deal of
abuse from unkind masters. Because of much beating and overloading,
they are generally a sorry-looking lot of animals.

Ki Pak had to engage ponies for himself, Yung Pak, and Wang Ken. He was
also obliged to employ a cook for the journey, who had to have a pony to
carry along the kettles and pans and other utensils. It was also
necessary to hire body-servants and several ponies to carry luggage, and
as each pony must have a _mapu_, or groom, it made quite a procession
when the party started out of Seoul on the journey to the northeast.

It was a fine day when the start was made. It was not early in the
morning, for, if there is anything a Korean hates to do, it is to make
an early start on a journey. If you had been in Yung Pak's place, you
would have gone crazy with impatience. The servants were late in
bringing around the ponies, and the process of loading them was a very
slow one.

But Yung Pak had long before learned to be patient under such
circumstances. In fact, he seemed to care little whether the start were
made in the morning or at noon. He calmly watched the servants at their
work, and, when at last all was declared ready, he gravely mounted his
pony and fell into the procession behind his father, with Wang Ken
immediately following.

A most comical sight was the cook, perched on top of his load of pans,
pots, and potatoes. As his pony trotted along with the others, it looked
as if the cook was in constant danger of a fall from his lofty seat, but
he sat as calm and unconcerned as one could imagine.

You would laugh if you should see the strings of eggs hanging across
this pony's back--yes, eggs. They were packed in bands of wheat straw,
and between each pair of eggs a straw was twisted. Thus a straw rope
enclosing twenty or more eggs, well protected, was made and thrown over
the top of the load.

Other riders had more comfortable seats, for most of the ponies carried
baggage in two wicker baskets,--one strapped upon each side,--and on top
of these was piled bedding and wadded clothing, which made a soft seat
for the rider.

The _mapus_ who accompanied the procession were dressed in short cotton
jackets, loose trousers, with sandals and cotton wrappings upon the
feet. They had to step lively to keep up with the ponies.

All the people in this company carried with them long garments made of
oiled paper. You have already learned that the Korean paper is very
tough, and when soaked with oil it forms a splendid protection against
the rain. Many of these garments had a very peculiar appearance, because
they were made of paper on which had been set copies for schoolboys to
use in learning to write.

As Yung Pak and his companions passed along the dirty streets of Seoul
toward a gate in the great wall, a curious crowd was attracted by the
unusual sight. This mob of men and boys were good-natured, but very
curious, and it gathered so close as to impede the progress of the
ponies. Moreover, a watchful eye had to be kept on all the luggage, lest
some over-covetous person might steal the provisions and supplies on the
ponies' backs.

Notwithstanding the slow progress made by Ki Pak's company, it took only
a short time to pass through the narrow streets and out by the great
gate, leaving behind the noisy mob of men and boys who had followed them
to the city's wall.

Once outside, upon the road which wound around and over the high hills
that surround the city, the pure country air seemed very sweet and
refreshing to Yung Pak, who knew nothing of life outside Seoul. This was
his first journey into the country, and the many strange sights drew
exclamations of surprise and wonder from him. The green waving grass and
swaying foliage of the trees were ever new sources of joy and pleasure,
and the delicate odours which the breezes bore to his sensitive nostrils
were refreshing and life-giving.

Among the strange sights which attracted Yung Pak's attention, as they
rode along through the country, were some very curious figures erected
by the roadside. These were posts, one side of which was roughly planed.
On the upper part of each of these posts was a rude carving of a hideous
human face with prominent teeth. The cheeks and teeth were slightly
coloured. A most fiendish appearance was presented by these figures,
called by the Koreans _syou-sal-mak-i_, and if looks counted for
anything, they ought well to serve their purpose,--the scaring away of
evil spirits from the village near which the figures always stood. The
mile-posts, or _fjang-seung_, along the way were often similarly
decorated.

[Illustration: "ON THE UPPER PART OF EACH OF THESE POSTS WAS A RUDE
CARVING"]

Another curiosity by the wayside which led to wonder on Yung Pak's part
was an old trunk of a tall tree. For about thirty feet from the ground
this was painted in coloured stripes very much like a barber's pole. The
top and branches of the tree had been trimmed off, and the upper end was
rudely carved in a shape representing a dragon with a forked tail. From
the head, which resembled that of an alligator, hung various cords, to
which were attached small brass bells and a wooden fish. Wang Ken told
Yung Pak that this was a monument to some famous Korean "doctor of
literature."

On the first day's journey toward Chang-an-sa the party made good
progress. The plan was to get to Yong-pyoeng, about twenty miles from
Seoul, before nightfall. To you this would seem a short day's journey,
but when it is remembered that many of the servants were on foot, and
that the little ponies were heavily loaded, it does not seem so strange
that more ground could not be covered in one day. In addition, in many
places the roads were poor, though in the valleys there was a smooth
bottom where the sand had washed down from the hills.

On some of these hillsides little villages were perched. Yung Pak
noticed that on the upper side of each of these hill-towns was a
moon-shaped wall.

"What is that wall for?" he asked Wang Ken as they passed one.

"That protects the village in time of rainstorms," replied the tutor.
"The soil here is of such a nature that it easily washes away, and if
the town were unprotected the earth would soon be swept from beneath the
houses. If you will look sharply, you will see outside the wall a deep
trench which carries off the rushing water."

As they were slowly riding along a road which wound around and over a
high hill Yung Pak still kept his eyes wide open for strange sights.
Suddenly he lifted his arm, and, pointing toward a tree upon a little
hill at one side of the road, he said to Wang Ken:

"Oh, what a queer-looking tree that is! And are not those strange leaves
on it? What kind of a tree is it, anyway?"

"Ha, ha!" laughed Wang Ken, "I don't wonder that you call that a
strange-looking tree. Let's take a walk up to it and get a closer view."

So the ponies were halted, and down sprang Yung Pak and Wang Ken.
Leaving the ponies in charge of the _mapus_, they marched up the hill to
get a nearer sight of the tree.

"Why," said the boy, as they approached it, "those are not leaves that
we saw from the road, but they are rags and strips of cloth. It looks as
if some one had hung out their clothes to dry and forgotten to take them
in again. What does it all mean?"

"That tree, my boy," Wang Ken replied, "is called the sacred devil-tree.
That is a queer combination of names, but you know there are a lot of
ignorant people in our country who are very superstitious. They believe
in all sorts of evil and good spirits. They think these spirits watch
every act of their lives. Consequently they do all they can to please
the good spirits and to drive away the evil ones. This tree they believe
has power to keep off the bad spirits, so every man who thinks that a
demon has possession of him tears a piece of cloth from his garment and
carefully ties it to a branch. That is how all these strips you see come
to be hanging above you. Some have hung there so long that the wind and
rain have torn them to rags."

"Yes, but why is this done?" asked Yung Pak.

"Because," was the reply, "a man who is possessed by an evil spirit
thinks that by thus tying a part of his clothing to the tree he may
induce the spirit to attach himself to it instead of to his own person."

Yung Pak's curiosity satisfied, they returned to the road, mounted their
ponies, and quickly caught up with the rest of the party.

No further incidents of special importance marked this first day's
journey, and shortly before nightfall they arrived at the town of
Yong-pyoeng. They found the village inn to be a series of low, small
buildings built on three sides of a courtyard. Into low sheds in this
yard the ponies were crowded and the luggage removed from their backs.
Ki Pak's servants proceeded to build a fire in the centre of the yard
and the cook made preparations for getting supper. Travellers had to
provide a large part of their own meals, for, as already stated, these
village inns were not hotels in the real sense of the word. They were
simply rude lodging-places where travellers might be protected from the
night air and have a chance to sleep while passing through the country.

Into the main waiting-room of the inn Yung Pak, with his father and
tutor, entered. At the door they removed their shoes and left them
outside. In the room were several other travellers seated upon the
floor, which was covered with oiled paper and grass mats. There was
absolutely no furniture. The walls were covered with clean white paper.
Each man in the room was smoking a pipe, which consisted of a brass bowl
and a reed stem over three feet long. All wore long white robes, though
one of the occupants had hung his hat upon the wall.

Into this room after a time the cook brought supper for his masters.
Other servants brought in boxes which were used as tables, and though
the style was not just what Yung Pak was used to, he managed to eat a
hearty meal. The day in the open air had given him a hunger and a zest
he rarely knew.

After supper, for a short time Yung Pak and Wang Ken talked over with Ki
Pak the events of the day. A servant soon announced that their
sleeping-rooms were ready, and they gladly at once sought their beds. To
get to their rooms they again stepped out into the courtyard. They found
that each bedroom was one of the little buildings facing the yard. Yung
Pak and Wang Ken occupied one room, while Ki Pak had a room by himself.
Through a narrow door about three feet high the lad and his tutor
entered their room. The door was simply a lattice shutter covered with
paper. The room was very small,--barely space for the two mattresses
which had been put there by the servants, and the ceiling was so low
that even the short Koreans could hardly stand upright. Yet here our two
friends managed to make themselves very comfortable for the night.

Outside in the courtyard the fire was kept burning, beside which two
watchmen sat all night smoking and telling stories. It was necessary to
maintain a watch till morning because the country districts of Korea are
infested with wild animals, particularly tigers, and the bright blaze of
the fire served to keep them at a distance. Otherwise the thin-walled
houses would have been slight protection for the sleeping travellers.

As it was, Yung Pak slept soundly the whole night, and did not awake
until after daylight, when servants brought to his door a wooden bowl
and a brass vessel full of water for his morning bath. Quickly he sprang
up, and with his companions made ready for the day's journey, for they
were all anxious to be on their way.

[Illustration: "THE DAY WAS PASSED IN MUCH THE SAME MANNER AS THE
PRECEDING ONE"]

Breakfast was served in much the same manner as the supper of the
previous evening had been. Of this meal all heartily partook, for a
Korean is never guilty of having a poor appetite.

As usual, it took a long time to get the ponies properly loaded and
ready to start, and the forenoon was about half-gone when the procession
finally left the courtyard of the inn.

A twenty-mile march would bring the party to Rang-chyoen, where it was
proposed to spend the second night of the journey.

The day was passed in much the same manner as the preceding one, though
of course new scenes proved ever interesting to Yung Pak. During this
day the party had to cross a river which was too deep to ford, and over
which there was no sort of bridge. For the assistance of travellers a
ferry-boat had been provided. This boat was a broad, flat-bottomed,
clumsy affair. It could carry but three ponies at a time, with several
men. The men in charge of the boat were slow and obstinate, and
consequently it took a long time for all to get across the river.

It was right here that an unfortunate, yet laughable, accident occurred.

As on the preceding day, the cook rode perched upon his pony's load of
kettles, pans, and pots. When riding along a good road his position was
precarious enough, requiring all his best efforts to maintain his
balance.

When his turn came to go upon the ferry-boat, Ki Pak advised him to
dismount and lead his pony across the plank which covered the watery
space between the bank of the river and the boat. But the cook was an
obstinate Korean, as well as a trifle lazy, and refused to get down,
thinking he could safely drive his beast across the gang-plank.
Ordinarily this would have been possible, but on this particular
occasion, just as the pony stepped upon the plank, the boat gave a
lurch, the plank slipped, and overboard went pony, cook, and all. For a
few moments there was enough bustle and excitement to suit any one.
Fortunately, the water was not deep, and quickly the drenched animal and
man were pulled from the water. The only permanent harm was to some of
the provisions that were a part of the pony's load. The cook was a wiser
as well as a wet man, and made up his mind that the next time he would
heed the advice to dismount when boarding a ferry-boat.

The day's journey was completed without further special incident, and at
night they rested in the inn at Rang-chyoen under conditions much the
same as at Yong-pyoeng.

The third day's journey brought the company to Kewen-syong. On the way
thither Yung Pak was much interested in the sights of the country, which
grew wilder and more strange the farther they got from Seoul. On this
day numerous highwaymen were met, but they dared not molest the
travellers on account of the large number in the party.

The cabins along the country roads were a continual source of curiosity
to Yung Pak. They were built of mud, without windows, and no door except
a screen of cords. In nearly every doorway would be sitting a man,
smoking a long-stemmed pipe, who looked with wide-open eyes at the
unusual procession passing his house.

Of course all the men who lived in these country cabins were farmers,
and Yung Pak liked to watch them as they worked in their fields, for to
the city-bred boy this is always an entrancing sight. What seemed most
curious to him was the fact that women were also at work in the fields.
At his home the women of the family nearly always stayed in their own
apartments, and when they did go out always went heavily veiled. These
country women not only assisted in the farm work, but they had to do all
the spinning and weaving for the family, in addition to usual household
cares.

Wang Ken was able to tell Yung Pak much about country life, for, like
most of the school-masters of Korea, he was himself a farmer's son. He
told how the Korean farmer lived a simple, patient life, while at the
same time he was ignorant and superstitious. He believed in demons,
spirits, and dragons, and in nearly every house were idols in honour of
the imaginary deities.

Pigs and bulls are the chief animals on Korean farms. The latter are
used as beasts of burden, though occasionally a more prosperous man may
own a pony or a donkey. The farming tools are extremely rude and simple,
thus necessitating the labour of several men or women where one man
could do the work with good tools.

While travelling along Yung Pak met several hunters. They were not an
uncommon sight on the streets of Seoul. When in the city they wore a
rough felt conical hat and dark blue cotton robe. The garments were ugly
in appearance and inconvenient. When the hunters were after game the
robe was discarded, and its place taken by a short wadded jacket, its
sleeves bound around the arms over wadded cuffs which reached from wrist
to elbow. In a similar way the trousers were bound to the calf of the
hunter's leg, and light straw sandals over a long piece of cotton cloth
were strapped to the feet and ankles. A huge string game-bag was slung
over his back, and in an antelope's horn or a crane's bill bullets were
carried. Powder was kept dry in a tortoise-shaped case of leather or
oiled paper.

Yung Pak's father would have been glad to have taken time for seeking
game with some of these hunters, but the business of his trip prevented
any unnecessary delay on the journey.




CHAPTER VIII.


THE MONASTERY AT CHANG-AN-SA

In the latter part of the afternoon of the fourth day, our travellers,
weary and worn with the long journey, came in sight of Chang-an-sa, the
Temple of Eternal Rest, one of the oldest monasteries of Korea, where
hundreds of monks devoted their lives to the service of Buddha.

The temple buildings, with deep curved roofs, are in a glorious
situation on a small level lot of grassy land crowded between the high
walls of a rocky ravine.

Yung Pak was delighted at his first sight of the great temple and the
surrounding buildings. Through the swaying branches of the forest-trees
he caught brief glimpses of the granite walls and turrets reddening in
the sunset glow. The deepening gloom of the gorge was lighted by the
slant beams of the setting sun, and on the water in the stream below
flecks of foam sparkled and danced in the light of the dying day.

At first conversation was out of the question in the presence of such a
majestic display of nature's wonders combined with the handiwork of man.

Coming to a gate of red stone, Yung Pak asked the meaning of the carved
arrow in the arch overhead.

"That arrow," replied his father, "signifies that the temples to which
this gate is the outer entrance are under the patronage of the king.
Wherever you see that sign, you may know that the king has a special
interest, and his messengers will be treated with respect and
hospitality. Consequently we may expect to be well cared for during our
visit to this place."

Passing through the gate, our friends found themselves at once in the
midst of the Chang-an-sa monastery buildings. In addition to the great
chief temple, there were many smaller places of worship, with bell and
tablet houses. There were also cells and sleeping-rooms for the monks,
servants' quarters, stables, a huge kitchen, and an immense dining-room,
together with a large guest-hall and a nunnery. In addition there were
several buildings devoted to the care of the aged, the infirm, and the
sick. All these places, during his stay, Yung Pak visited in company
with Wang Ken and guided by one of the monks.

Besides the buildings already mentioned there were several houses that
had been erected by the king on purpose for the use of his officials,
and it was to one of these that Ki Pak and his son and Wang Ken were led
by several of the priests of the monastery. In the meantime, the
servants and the ponies were cared for in other places assigned for the
purpose.

Yung Pak was not sorry to arrive at his journey's end, even though he
had enjoyed himself every moment of the time since he left Seoul. A four
days' ride on the back of a pony will make the most enthusiastic
traveller tired, and Yung Pak was glad to get to bed in the comfortable
room provided just as soon as he had eaten his supper. His night's sleep
was a sound one, though at midnight, and again at four o'clock in the
morning, he was awakened by the ringing of bells and gongs that called
the monks to the worship of Buddha.

In the morning Yung Pak awoke greatly refreshed, and, after a bountiful
breakfast, he started out with Wang Ken, guided by a monk, to see the
wonders of Chang-an-sa monastery.

One of the first things he noticed was the large number of boys about
the place. He learned from the guide that these lads were all orphans
who were being cared for by the priests, and who, later in life, would
themselves become priests of Buddha. They were all bright and active,
and were kept busily employed as waiters and errand-runners when they
were not at work on their studies. Like most boys, however, they managed
to get a generous share of time for play.

It would be impossible to tell in detail about all the strange things
Yung Pak saw at this monastery. The chief temple was an enormous
structure of stone and tile and carved wood, all decorated in gorgeous
combinations of red, green, gold, and white.

Within this temple was one room called the "chamber of imagery." Inside
its darkened walls a single monk chanted his monotonous prayer before
an altar. During the chant he also occupied himself by striking a small
bell with a deer-horn. Bells played a great part in the worship at
Chang-an-sa, and all the prayers were emphasized by the clanging of
bells great or small.

Along the shadowy walls of this room could be seen the weapons, as well
as the eyes and teeth, the legs and arms, of gods and demons otherwise
invisible. These had a ghostly effect on Yung Pak, and made him cling
closely to the side of his tutor.

Above the altar before which the priest knelt was an immense carving in
imitation of an uprooted tree. Among the roots thus exposed were placed
fifty-three idols in all kinds of positions. Beneath the carving were
represented three fierce-looking dragons, on whose faces were signs of
the most awful torment and suffering.

"About this altar-piece," said Yung Pak's guide, "there is a legend you
might like to hear."

"Oh, yes," was the reply, "tell us the story."

"Many years ago," began the guide, "fifty-three Buddhist priests came
from India to Korea for the purpose of converting the people to their
belief. When they reached this place they were very tired, and sat down
by a spring beneath the wide-spreading branches of a tree. They had not
been there long when three dragons appeared and attacked the priests.
During the contest the dragons called up a great wind which uprooted the
tree. In return, each of the priests placed an image of Buddha on a
tree-root, turning it into an altar. Thus they were able to overcome the
dragons, who were forced into the spring. On top of them great stones
were piled, and afterward the monastery of Chang-an-sa was built upon
the site of the battle between the priests and the dragons."

Afterward Yung Pak visited the great kitchens, the dining-rooms, the
stables, the private rooms of the monks, and every place which might be
of interest to an inquisitive boy of his age.

During the time he remained at Chang-an-sa he made several excursions
into the surrounding country, but always returning to the monastery at
night.

Meanwhile Ki Pak had transacted the business for which he came to this
region, and at the end of ten days was ready to return to Seoul.

Of this journey it is not necessary to tell. No mishap marred the
pleasure of the trip, and all returned safe and sound to their home in
the capital city of Korea. Yung Pak had enjoyed the journey very, very
much, yet he was not sorry once more to be among the familiar scenes and
surroundings of home.




CHAPTER IX.


A FULL-FLEDGED TOP-KNOT

Like all Korean boys, Yung Pak wore his hair in two braids, and by the
time he was twelve years old these had become very long, and hung in
black and glossy plaits down his back.

On the day that he was thirteen his father called him to his room and
told the lad that the time had come for him to assume the dignities of a
man. In accordance with that statement, he had decided that on the next
day his son should be formally "invested" with the top-knot. In other
words, the crown of his head was to be shaven, and his long hair tightly
coiled upon the bare place thus made. This is called the "Investiture
of the Top-knot," and is always attended by solemn ceremonies.

In preparation for this event Ki Pak had made careful and elaborate
arrangements. He had provided for his son new clothes and a hat after
the style of his own. He had also consulted an eminent astrologer, who
had chosen the propitious day and hour for the ceremony after due
consultation of the calendar and the stars and planets in their courses.

Generally, if the father is blessed with good fortune and a number of
sons, he acts as his own master of ceremonies on such an occasion, but
as Ki Pak had only this one son he decided to ask his brother, Wu-pom
Nai, who had several sons and was a prosperous merchant of Seoul, to
fill this important position.

Yung Pak could hardly wait for the morrow to come. So excited was he at
the thought of the great honour that was to be his that he spent almost
a sleepless night. However, like all nights, long or short, this one
passed, and the wished-for hour at last arrived.

All the male members of the family were present. Korean women are
reckoned of little importance and take no part in social and family
affairs. On this occasion no men except relatives were asked to attend.

Yung Pak was directed to seat himself on the floor in the centre of the
room, facing the east. This was the point of compass revealed by the
astrologer as most favourable to the young candidate for manly honours.

With great deliberation and much formality Wu-pom Nai proceeded to
loosen the boy's heavy plaits of hair. Then with great care, while the
onlookers watched with breathless interest, he shaved the crown of the
lad's head, making a bare circular spot about three inches in diameter.
Over this spot he twisted all the remaining hair into a coil about four
inches long, pointing slightly forward like a horn.

Over the top-knot thus made the master of ceremonies placed the
_mang-kun,_ which was a crownless skull-cap made of a very delicate
stiff gauze. This was tied on very tightly,--so tightly that it made a
deep ridge in Yung Pak's forehead and gave him a severe headache; but he
bore the pain heroically and without flinching--for was he not now a
man? The regular Korean man's hat, with its flapping wings, was next put
on, and this part of the ceremony was complete.

Yung Pak now rose from his position, and made a deep bow to each one in
the room, beginning with his father, and then in regular order according
to relationship. Afterward, accompanied by his relatives, he proceeded
to the room where were placed the tablets in memory of his ancestors.
There he offered sacrifice before each one in turn. Lighted candles in
brass candlesticks he placed in front of each tablet, and beside the
candles he put dishes of sacrificial food and fruit. Then, as before
his living relatives, he bowed profoundly to the tablets of the dead
ones, and formally and seriously let them know that he had been
regularly invested with the top-knot, and now had the right to be
regarded as a man.

The sacrifices made, Yung Pak called at the homes of all the male
friends of the family, who now for the first time looked upon him as
their equal, and in the evening Ki Pak gave a great dinner in honour of
his son. Here there was much feasting and rejoicing, and all united in
wishing the greatest prosperity and lifelong happiness to the little
Korean boy now become a man.

He is no longer our _little_ Korean cousin. Hence, we leave him at this
point, joining heartily in the best wishes and the compliments bestowed
upon him by his friends.


THE END.








End of Project Gutenberg's Our Little Korean Cousin, by H. Lee M. Pike

*** END OF THIS PROJECT GUTENBERG EBOOK OUR LITTLE KOREAN COUSIN ***

***** This file should be named 12048.txt or 12048.zip *****
This and all associated files of various formats will be found in:
        http://www.gutenberg.net/1/2/0/4/12048/

Produced by Million Book Project, Juliet Sutherland, and the Online
Distributed Proofreading Team.


Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties.  Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark.  Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission.  If you
do not charge anything for copies of this eBook, complying with the
rules is very easy.  You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research.  They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks.  Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).


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

1.A.  By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement.  If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B.  "Project Gutenberg" is a registered trademark.  It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement.  There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement.  See
paragraph 1.C below.  There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works.  See paragraph 1.E below.

1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works.  Nearly all the individual works in the
collection are in the public domain in the United States.  If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed.  Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work.  You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1.D.  The copyright laws of the place where you are located also govern
what you can do with this work.  Copyright laws in most countries are in
a constant state of change.  If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work.  The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1.E.  Unless you have removed all references to Project Gutenberg:

1.E.1.  The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere 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.net

1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges.  If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.

1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder.  Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1.E.5.  Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form.  Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.

1.E.7.  Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8.  You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
     the use of Project Gutenberg-tm works calculated using the method
     you already use to calculate your applicable taxes.  The fee is
     owed to the owner of the Project Gutenberg-tm trademark, but he
     has agreed to donate royalties under this paragraph to the
     Project Gutenberg Literary Archive Foundation.  Royalty payments
     must be paid within 60 days following each date on which you
     prepare (or are legally required to prepare) your periodic tax
     returns.  Royalty payments should be clearly marked as such and
     sent to the Project Gutenberg Literary Archive Foundation at the
     address specified in Section 4, "Information about donations to
     the Project Gutenberg Literary Archive Foundation."

- You provide a full refund of any money paid by a user who notifies
     you in writing (or by e-mail) within 30 days of receipt that s/he
     does not agree to the terms of the full Project Gutenberg-tm
     License.  You must require such a user to return or
     destroy all copies of the works possessed in a physical medium
     and discontinue all use of and all access to other copies of
     Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1.F.3, a full refund of any
     money paid for a work or a replacement copy, if a defect in the
     electronic work is discovered and reported to you within 90 days
     of receipt of the work.

- You comply with all other terms of this agreement for free
     distribution of Project Gutenberg-tm works.

1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
Foundation as set forth in Section 3 below.

1.F.

1.F.1.  Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection.  Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  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 MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

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

1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.


Section  2.  Information about the Mission of Project Gutenberg-tm

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

Volunteers and financial support to provide volunteers with the
assistance they need, is critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come.  In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www.pglaf.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.  Its 501(c)(3) letter is posted at
http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state's laws.

The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712., but its volunteers and employees are scattered
throughout numerous locations.  Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf.org.  Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf.org

For additional contact information:
     Dr. Gregory B. Newby
     Chief Executive and Director
     gbnewby@pglaf.org

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

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

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

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 including checks, online payments and credit card
donations.  To donate, please visit: http://pglaf.org/donate


Section 5.  General Information About Project Gutenberg-tm electronic
works.

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

Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U.S.
unless a copyright notice is included.  Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.

Each eBook is in a subdirectory of the same number as the eBook's
eBook number, often in several formats including plain vanilla ASCII,
compressed (zipped), HTML and others.

Corrected EDITIONS of our eBooks replace the old file and take over
the old filename and etext number.  The replaced older file is renamed.
VERSIONS based on separate sources are treated as new eBooks receiving
new filenames and etext numbers.

Most people start at our Web site which has the main PG search facility:

     http://www.gutenberg.net

This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.

EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
are filed in directories based on their release date.  If you want to
download any of these eBooks directly, rather than using the regular
search system you may utilize the following addresses and just
download by the etext year.

     http://www.gutenberg.net/etext06

    (Or /etext 05, 04, 03, 02, 01, 00, 99,
     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)

EBooks posted since November 2003, with etext numbers OVER #10000, are
filed in a different way.  The year of a release date is no longer part
of the directory path.  The path is based on the etext number (which is
identical to the filename).  The path to the file is made up of single
digits corresponding to all but the last digit in the filename.  For
example an eBook of filename 10234 would be found at:

     http://www.gutenberg.net/1/0/2/3/10234

or filename 24689 would be found at:
     http://www.gutenberg.net/2/4/6/8/24689

An alternative method of locating eBooks:
     http://www.gutenberg.net/GUTINDEX.ALL



Colophon

This file was acquired from Project Gutenberg, and it is in the public domain. It is re-distributed here as a part of the Alex Catalogue of Electronic Texts (http://infomotions.com/alex/) by Eric Lease Morgan (Infomotions, Inc.) for the purpose of freely sharing, distributing, and making available works of great literature. Its Infomotions unique identifier is etext12048, and it should be available from the following URL:

http://infomotions.com/etexts/id/etext12048



Infomotions, Inc.

Infomotions Man says, "Give back to the 'Net."