The Project Gutenberg eBook of Odd Craft By W. W. Jacobs: Part 6

"Witchcraft?" said the old man, thoughtfully, as he scratched his scanty whiskers. No, I ain't heard o' none in these parts for a long time. There used to be a little of it about when I was a boy, and there was some talk of it arter I'd growed up, but Claybury folk never took much count of it. The last bit of it I remember was about forty years ago, and that wasn't so much witchcraft as foolishness.

There was a man in this place then—Joe Barlcomb by name—who was a firm believer in it, and 'e used to do all sorts of things to save hisself from it. He was a new-comer in Claybury, and there was such a lot of it about in the parts he came from that the people thought o' nothing else hardly.

He was a man as got 'imself very much liked at fust, especially by the old ladies, owing to his being so perlite to them, that they used to 'old 'im up for an example to the other men, and say wot nice, pretty ways he 'ad. Joe Barlcomb was everything at fust, but when they got to 'ear that his perliteness was because 'e thought 'arf of 'em was witches, and didn't know which 'arf, they altered their minds.

In a month or two he was the laughing-stock of the place; but wot was worse to 'im than that was that he'd made enemies of all the old ladies. Some of 'em was free-spoken women, and 'e couldn't sleep for thinking of the 'arm they might do 'im.

He was terrible uneasy about it at fust, but, as nothing 'appened and he seemed to go on very prosperous-like, 'e began to forget 'is fears, when all of a sudden 'e went 'ome one day and found 'is wife in bed with a broken leg.

She was standing on a broken chair to reach something down from the dresser when it 'appened, and it was pointed out to Joe Barlcomb that it was a thing anybody might ha' done without being bewitched; but he said 'e knew better, and that they'd kept that broken chair for standing on for years and years to save the others, and nothing 'ad ever 'appened afore.

In less than a week arter that three of his young 'uns was down with the measles, and, 'is wife being laid up, he sent for 'er mother to come and nurse 'em. It's as true as I sit 'ere, but that pore old lady 'adn't been in the house two hours afore she went to bed with the yellow jaundice.

Joe Barlcomb went out of 'is mind a'most. He'd never liked 'is wife's mother, and he wouldn't 'ave had 'er in the house on'y 'e wanted her to nurse 'is wife and children, and when she came and laid up and wanted waiting on 'e couldn't dislike her enough.

He was quite certain all along that somebody was putting a spell on 'im, and when 'e went out a morning or two arterward and found 'is best pig lying dead in a corner of the sty he gave up and, going into the 'ouse, told 'em all that they'd 'ave to die 'cause he couldn't do anything more for 'em. His wife's mother and 'is wife and the children all started crying together, and Joe Barlcomb, when 'e thought of 'is pig, he sat down and cried too.

He sat up late that night thinking it over, and, arter looking at it all ways, he made up 'is mind to go and see Mrs. Prince, an old lady that lived all alone by 'erself in a cottage near Smith's farm. He'd set 'er down for wot he called a white witch, which is the best kind and on'y do useful things, such as charming warts away or telling gals about their future 'usbands; and the next arternoon, arter telling 'is wife's mother that fresh air and travelling was the best cure for the yellow jaundice, he set off to see 'er.

Mrs. Prince was sitting at 'er front door nursing 'er three cats when 'e got there. She was an ugly, little old woman with piercing black eyes and a hook nose, and she 'ad a quiet, artful sort of a way with 'er that made 'er very much disliked. One thing was she was always making fun of people, and for another she seemed to be able to tell their thoughts, and that don't get anybody liked much, especially when they don't keep it to theirselves. She'd been a lady's maid all 'er young days, and it was very 'ard to be taken for a witch just because she was old.

"Being as I was passing, I just thought I'd look in," ses Joe Barlcomb, eyeing the cats.

"Take a chair," ses Mrs. Prince, getting up and dusting one down with 'er apron.

Joe sat down. "I'm in a bit o' trouble, ma'am," he ses, "and I thought p'r'aps as you could help me out of it. My pore pig's been bewitched, and it's dead."

"Bewitched?" ses Mrs. Prince, who'd 'eard of 'is ideas. "Rubbish. Don't talk to me."

"It ain't rubbish, ma'am," ses Joe Barlcomb; "three o' my children is down with the measles, my wife's broke 'er leg, 'er mother is laid up in my little place with the yellow jaundice, and the pig's dead."

"Well, 'ow am I to help you?" ses Mrs. Prince. "Do you want me to come and nurse 'em?"

"No, no," ses Joe, starting and turning pale; "unless you'd like to come and nurse my wife's mother," he ses, arter thinking a bit. "I was hoping that you'd know who'd been overlooking me and that you'd make 'em take the spell off."

Mrs. Prince got up from 'er chair and looked round for the broom she'd been sweeping with, but, not finding it, she set down agin and stared in a curious sort o' way at Joe Barlcomb.

"You can't deceive me," ses Joe; "I've 'ad too much experience; I knew it the fust time I saw you by the mole on your nose."

Mrs. Prince got up and went into her back-place, trying her 'ardest to remember wot she'd done with that broom. She couldn't find it anywhere, and at last she came back and sat staring at Joe for so long that 'e was 'arf frightened out of his life. And by-and-by she gave a 'orrible smile and sat rubbing the side of 'er nose with 'er finger.

"If I help you," she ses at last, "will you promise to keep it a dead secret and do exactly as I tell you? If you don't, dead pigs'll be nothing to the misfortunes that you will 'ave."

"The spell," ses Mrs. Prince, holding up her 'ands and shutting 'er eyes, "was put upon you by a man. It is one out of six men as is jealous of you because you're so clever, but which one it is I can't tell without your assistance. Have you got any money?"

"A little," ses Joe, anxious-like— "a very little. Wot with the yellow jaundice and other things, I——"

"Fust thing to do," ses Mrs. Prince, still with her eyes shut, "you go up to the Cauliflower to-night; the six men'll all be there, and you must buy six ha'pennies off of them; one each."

"Don't repeat wot I say," ses Mrs. Prince; "it's unlucky. You buy six ha'pennies for a shilling each, without saying wot it's for. You'll be able to buy 'em all right if you're civil."

"It seems to me it don't need much civility for that," ses Joe, pulling a long face.

"When you've got the ha'pennies," ses Mrs. Prince, "bring 'em to me and I'll tell you wot to do with 'em. Don't lose no time, because I can see that something worse is going to 'appen if it ain't prevented."

"Is it anything to do with my wife's mother getting worse?" ses Joe Barlcomb, who was a careful man and didn't want to waste six shillings.

Joe Barlcomb went cold all over, and then he put down a couple of eggs he'd brought round for 'er and went off 'ome agin, and Mrs. Prince stood in the doorway with a cat on each shoulder and watched 'im till 'e was out of sight.

That night Joe Barlcomb came up to this 'ere Cauliflower public-house, same as he'd been told, and by-and-by, arter he 'ad 'ad a pint, he looked round, and taking a shilling out of 'is pocket put it on the table, and he ses, "Who'll give me a ha'penny for that?" he ses.

None of 'em seemed to be in a hurry. Bill Jones took it up and bit it, and rang it on the table and squinted at it, and then he bit it agin, and turned round and asked Joe Barlcomb wot was wrong with it.

Then Peter Lamb came up, and he looked at it and rang it, and at last he gave Joe a ha'penny for it and took it round, and everybody 'ad a look at it.

"It stands to reason it's a bad 'un," ses Bill Jones, "but it's so well done I wish as I'd bought it."

The landlord 'ad just that moment come in, and Peter walked up and ordered a pint, and took his ten-pence change as bold as brass. Arter that Joe Barbcomb bought five more ha'pennies afore you could wink a'most, and every man wot sold one went up to the bar and 'ad a pint and got tenpence change, and drank Joe Barlcomb's health.

"There seems to be a lot o' money knocking about to-night," ses the landlord, as Sam Martin, the last of 'em, was drinking 'is pint.

Sam Martin choked and put 'is pot down on the counter with a bang, and him and the other five was out o' that door and sailing up the road with their tenpences afore the landlord could get his breath. He stood to the bar scratching his 'ead and staring, but he couldn't understand it a bit till a man wot was too late to sell his ha'penny up and told 'im all about it. The fuss 'e made was terrible. The shillings was in a little heap on a shelf at the back o' the bar, and he did all sorts o' things to 'em to prove that they was bad, and threatened Joe Barlcomb with the police. At last, however, 'e saw wot a fool he was making of himself, and arter nearly breaking his teeth 'e dropped them into a drawer and stirred 'em up with the others.

Joe Barlcomb went round the next night to see Mrs. Prince, and she asked 'im a lot o' questions about the men as 'ad sold 'im the ha'pennies.

"The fust part 'as been done very well," she ses, nodding her 'ead at 'im; "if you do the second part as well, you'll soon know who your enemy is."

"There's worse misfortunes than that, as I've told you," ses Mrs. Prince, sharply. "Now, listen to wot I'm going to say to you. When the clock strikes twelve to-night——"

"Then you must borrow one that does," ses Mrs. Prince, "and when it strikes twelve you must go round to each o' them six men and sell them a ha'penny for a shilling."

"Same way as you sold 'em a shilling for a ha'-penny," ses Mrs. Prince; "it don't matter whether they buy the ha'pennies or not. All you've got to do is to go and ask 'em, and the man as makes the most fuss is the man that 'as put the trouble on you."

"Wot!" screams Mrs. Prince, jumping up and waving her arms about. "Wot! Go your own way; I'll have nothing more to do with you. And don't blame me for anything that happens. It's a very bad thing to come to a witch for advice and then not to do as she tells you. You ought to know that."

Joe promised her agin, and 'e went off and borrered a clock from Albert Price, and at twelve o'clock that night he jumped up out of bed and began to dress 'imself and pretend not to 'ear his wife when she asked 'im where he was going.

It was a dark, nasty sort o' night, blowing and raining, and, o' course, everybody 'ad gone to bed long since. The fust cottage Joe came to was Bill Jones's, and, knowing Bill's temper, he stood for some time afore he could make up 'is mind to knock; but at last he up with 'is stick and banged away at the door.

A minute arterward he 'eard the bedroom winder pushed open, and then Bill Jones popped his 'cad out and called to know wot was the matter and who it was.

"Well, speak away," ses Bill. "You go into the back room," he ses, turning to his wife.

"'Cos I don't know wot Joe is going to say," ses Bill. "You go in now, afore I make you."

His wife went off grumbling, and then Bill told Joe Barlcomb to hurry up wot he'd got to say as 'e 'adn't got much on and the weather wasn't as warm as it might be.

"Do you want to sell any more?" ses Bill Jones, putting his 'and down to where 'is trouser pocket ought to be.

"Not exactly that," ses Joe Barlcomb. "This time I want you to sell me a shilling for a ha'penny."

Bill leaned out of the winder and stared down at Joe Barlcomb, and then he ses, in a choking voice, "Is that wot you've come disturbing my sleep for at this time o' night?" he ses.

"Well, if you'll wait a moment," ses Bill, trying to speak perlitely, "I'll come down and give it to you."

Joe didn't like 'is tone of voice, but he waited, and all of a sudden Bill Jones came out o' that door like a gun going off and threw 'imself on Joe Barlcomb. Both of 'em was strong men, and by the time they'd finished they was so tired they could 'ardly stand. Then Bill Jones went back to bed, and Joe Barlcomb, arter sitting down on the doorstep to rest 'imself, went off and knocked up Peter Lamb.

Peter Lamb was a little man and no good as a fighter, but the things he said to Joe Barlcomb as he leaned out o' the winder and shook 'is fist at him was 'arder to bear than blows. He screamed away at the top of 'is voice for ten minutes, and then 'e pulled the winder to with a bang and went back to bed.

Joe Barlcomb was very tired, but he walked on to Jasper Potts's 'ouse, trying 'ard as he walked to decide which o' the fust two 'ad made the most fuss. Arter he 'ad left Jasper Potts 'e got more puzzled than ever, Jasper being just as bad as the other two, and Joe leaving 'im at last in the middle of loading 'is gun.

By the time he'd made 'is last call—at Sam Martin's—it was past three o'clock, and he could no more tell Mrs. Prince which 'ad made the most fuss than 'e could fly. There didn't seem to be a pin to choose between 'em, and, 'arf worried out of 'is life, he went straight on to Mrs. Prince and knocked 'er up to tell 'er. She thought the 'ouse was afire at fust, and came screaming out o' the front door in 'er bedgown, and when she found out who it was she was worse to deal with than the men 'ad been.

She 'ad quieted down by the time Joe went round to see 'er the next evening, and asked 'im to describe exactly wot the six men 'ad done and said. She sat listening quite quiet at fust, but arter a time she scared Joe by making a odd, croupy sort o' noise in 'er throat, and at last she got up and walked into the back-place. She was there a long time making funny noises, and at last Joe walked toward the door on tip-toe and peeped through the crack and saw 'er in a sort o' fit, sitting in a chair with 'er arms folded acrost her bodice and rocking 'erself up and down and moaning. Joe stood as if 'e'd been frozen a'most, and then 'e crept back to 'is seat and waited, and when she came into the room agin she said as the trouble 'ad all been caused by Bill Jones. She sat still for nearly 'arf an hour, thinking 'ard, and then she turned to Joe and ses:

"That's all right, then," she ses, "because if you could I couldn't do wot I'm going to do."

Mrs. Prince nodded, and then she went and got a bottle with something in it which looked to Joe like gin, and arter getting out 'er pen and ink and printing some words on a piece o' paper she stuck it on the bottle, and sat looking at Joe and thinking.

"Take this up to the Cauliflower," she ses, "make friends with Bill Jones, and give him as much beer as he'll drink, and give 'im a little o' this gin in each mug. If he drinks it the spell will be broken, and you'll be luckier than you 'ave ever been in your life afore. When 'e's drunk some, and not before, leave the bottle standing on the table."

Joe Barlcomb thanked 'er, and with the bottle in 'is pocket went off to the Cauliflower, whistling. Bill Jones was there, and Peter Lamb, and two or three more of 'em, and at fust they said some pretty 'ard things to him about being woke up in the night.

He ordered two pints, and then sat down along-side o' Bill, and in five minutes they was like brothers.

Bill thanked 'im and had a drop, and then, thoughtful-like, he wanted Joe to 'ave some in his too, but Joe said no, he'd got a touch o' toothache, and it was bad for it.

"Not to-night, mate," ses Joe; "it's all for Bill. I bought it on purpose for 'im."

Bill shook 'ands with him, and when Joe called for another pint and put some more gin in it he said that 'e was the noblest-'arted man that ever lived.

Bill didn't answer 'im. He was leaning back on the bench and staring at the bottle as if 'e couldn't believe his eyesight. His face was all white and shining, and 'is hair as wet as if it 'ad just been dipped in a bucket o' water.

Bill made a 'orrible noise in his throat, and kept on staring at the bottle till they thought 'e'd gone crazy. Then Jasper Potts bent his 'ead down and began to read out loud wot was on the bottle. "P-o-i— POISON FOR BILL JONES," he ses, in a voice as if 'e couldn't believe it.

You might 'ave heard a pin drop. Everybody turned and looked at Bill Jones, as he sat there trembling all over. Then those that could read took up the bottle and read it out loud all over agin.

"Pore Bill," ses Peter Lamb. "I 'ad a feeling come over me that something was wrong."

"You're a murderer," ses Sam Martin, catching 'old of Joe Barlcomb. "You'll be 'ung for this. Look at pore Bill, cut off in 'is prime."

Two of 'em ran off as 'ard as they could go, and then the landlord came round the bar and asked Bill to go and die outside, because 'e didn't want to be brought into it. Jasper Potts told 'im to clear off, and then he bent down and asked Bill where the pain was.

"I don't think he'll 'ave much pain," ses Peter Lamb, who always pretended to know a lot more than other people. "It'll soon be over, Bill."

"We've all got to go some day," ses Sam Martin. "Better to die young than live to be a trouble to yourself," ses Bob Harris.

To 'ear them talk everybody seemed to think that Bill Jones was in luck; everybody but Bill Jones 'imself, that is.

"Wot 'ave you done, Bill?" ses Peter Lamb, in a soft voice. "If it'll ease your feelings afore you go to make a clean breast of it, we're all friends here."

"And it's too late for you to be punished for anything," ses Peter, arter a moment.

Bill Jones groaned agin, and then, shaking 'is 'ead, began to w'isper 'is wrong-doings. When the doctor came in 'arf an hour arterward all the men was as quiet as mice, and pore Bill was still w'ispering as 'ard as he could w'isper.

The doctor pushed 'em out of the way in a moment, and then 'e bent over Bill and felt 'is pulse and looked at 'is tongue. Then he listened to his 'art, and in a puzzled way smelt at the bottle, which Jasper Potts was a-minding of, and wetted 'is finger and tasted it.

"Somebody's been making a fool of you and me too," he ses, in a angry voice. "It's only gin, and very good gin at that. Get up and go home."

It all came out next morning, and Joe Barlcomb was the laughing-stock of the place. Most people said that Mrs. Prince 'ad done quite right, and they 'oped that it ud be a lesson to him, but nobody ever talked much of witchcraft in Claybury agin. One thing was that Bill Jones wouldn't 'ave the word used in 'is hearing.

*** END OF THE PROJECT GUTENBERG EBOOK BREAKING A SPELL ***

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

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

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

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

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

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

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

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

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

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

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

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

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

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

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

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

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

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

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

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

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

1.F.

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

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

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

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

Section 2. Information about the Mission of Project Gutenberg™

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

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

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

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

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

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

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

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

Most people start at our website which has the main PG search facility: www.gutenberg.org.

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

The Project Gutenberg eBook of Breaking a Spell

1909

PART 6.

List of Illustrations

BREAKING A SPELL

THE FULL PROJECT GUTENBERG LICENSE