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ls, in quoted material) Word Variations occuring in this text which have been retained: "bed-chamber" (1) and "bedchamber" (1) "Cortes" (1) p.122 and "Cortez" (2) (another instance of "Cortes" also occurs on p. 111, however the person described is other than the "Cortez" who set out to conquer Mexico) "enclose" (1) and "inclose(d) (ures)" (2) "ever-living" (2) and "everliving" (1) "every-day" (2) and "everyday" (1) "Gra-so-po-itas" (2) and "Gra-sop-o-itas" (2) "head-dress" (2) and "headdress" (1) "melancholy" (3) and "melancholly" (1) (in a quoted "report") "MERCHANTS'" (1) and "MERCHANT'S" (1) (in TOC and CHAPTER TITLE) "O-kak-o-nitas" (2) and "O-kak-oni-tas" (3) "right-about face" (1) and "right-about-faced" (1) "sceptre" (4) and "scepter" (7) "sea-shore" (1) and "seashore" (1) "semi-circle" (2) and "semicircle" (1) "wouldst" (1) and "would'st" (1) Printer Corrections and Notes: p. 11, Table of Contents: Chapter XI. "THE TELESCOPIC EYE" changed from p. 175 to 174 and Chapter XII. "THE EMERALD EYE from p. 191 to 190. p. 201, italicised "First." and "Secondly", to conform with remaining recitations on succeeding page 202. p. 227, "The thought crossed my mind, Can this be a spirit?" (is correctly capitalized. Direct question within a sentence. Wherever the printer used a row of asterisks as a separator, the number of asterisks used has been standardized to 5. Wherever the printer used blank space as a separator, a row of five number signs (#) appears. End of the Project Gutenberg EBook of Caxton's Book: A Collection of Essays, Poems, Tales, and Sketches., by W. H. Rhodes *** END OF THIS PROJECT GUTENBERG EBOOK CAXTON'S BOOK *** ***** This file should be named 32761.txt or 32761.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/3/2/7/6/32761/ Produced by David Edwards, Christine Aldridge and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was made from images produced by the North Carolina History and Fiction Digital Library.) 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. Sp
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