The Project Gutenberg eBook of The Group, by Mrs. Mercy Warren.

Transcriber's Note:

This e-book contains the text of The Group, extracted from Representative Plays by American Dramatists: Vol 1, 1765-1819. Comments and background to all the plays, and links to the other plays are available here.

For your convenience, the transcribers have provided the following links:

Mrs Mercy Warren.
Prologue
Dramatis Personæ
ACT I.
ACT II.

Spelling as in the original has been preserved.

THE GROUP

By Mrs. Mercy Warren

MRS. MERCY WARREN

(1728-1814)

Most of the literature—orations as well as broadsides—created in America under the heat of the Revolution, was of a strictly satirical character. Most of the Revolutionary ballads sung at the time were bitter with hatred against the Loyalist. When the conflict actually was in progress, the theatres that regaled the Colonists were closed, and an order from the Continental Congress declared that theatre-going was an amusement from which all patriotic people should abstain. These orders or resolutions were dated October 12, 1778, and October 16. (Seilhamer, ii, 51.) The playhouses were no sooner closed, however—much to the regret of Washington—than their doors were thrown wide open by the British troops stationed in Boston, New York, and Philadelphia. A complete history of the American stage has to deal with Howe's players, Clinton's players, and Burgoyne's players.

Of all these Red-Coat Thespians, two demand our attention—one, Major André, a gay, talented actor; the other, General Burgoyne, whose pride was as much concerned with playwriting as with generalship. The latter dipped his pen in the satirical inkpot, and wrote a farce, "The Blockade of Boston." It was this play that drew forth from a woman, an American playwright, the retort stinging. This lady was Mrs. Mercy Warren [1] who, although distinguished for being a sister of James Otis, and the wife of General James Warren, was in her own name a most important and distinct literary figure during the Revolution.

So few women appear in the early history of American Drama that it is well here to mention Mrs. Charlotte Ramsay Lennox (1720-1804) and Mrs. Susanna Rowson (1762-1824). The former has the reputation of being the first woman, born in America, to have written a play, "The Sister" (1769). The author [Pg 212]moved to London when she was fifteen, and there it was her piece was produced, with an epilogue by Oliver Goldsmith. She is referred to in Boswell's Life of Johnson.

Of Susanna Rowson, whose Memoir has been issued by Rev. Elias Nason, we know that, as a singer and actress, she created sufficient reputation in London to attract the attention of Wignell, the comedian. (Clapp. Boston Stage. 1853, p. 41.)

With her husband, she came to this country in 1793, and, apart from her professional duties on the stage, wrote a farce, "Volunteers" (1795), dealing with the Whiskey Insurrection in Pennsylvania, "The Female Patriot" (1794), "Slaves in Algiers; or, A Struggle for Freedom" (1794), and "Americans in England" (1796). All of these were produced. Her literary attainments were wide, her most popular novel being "Charlotte Temple, a Tale of Truth" (1790). She likewise compiled many educational works. (See Wegelin.)

The picture conjured up in our mind of Mrs. Warren is farthest away from satire. To judge by the costume she wore when she sat to Copley for her portrait, she must have been graced with all the feminine wiles of the period. Behold Mrs. Mercy Warren, satirist, as the records describe her:

But however agreeable this picture may be, Mrs. Warren, on reading Burgoyne's farce, immediately sharpened her pen, and replied by writing a counter-farce, which she called "The Blockheads; or, the Affrighted Officers."[2] It was in the prologue to this play that the poet-dramatist wrote:

Unfortunately, we cannot test the comparative value of satire as used by Burgoyne and Mrs. Warren, because the Burgoyne play is not in existence. But, undoubtedly, our Revolutionary enthusiast knew how to wield her pen in anger, and she reflects all of the bitter spirit of the time. Not only is this apparent in "The Blockheads," but likewise in "The Group," a piece which holds up to ridicule a number of people well known to the Boston of that day.

Mrs. Warren was the writer of many plays, as well as being noted for her "History of the American Revolution" (1805), and for her slim volume of poems (1790), which follow the conventional sentiments of the conventionally sentimental English poetry of that time.

In "The Group" we obtain her interesting impressions, in dramatic form, of North and Gage and, from the standpoint of the library, we regard with reverence the little copy of the play printed on the day before the battle of Lexington—a slim brochure, aimed effectively at Tory politicians.[3]

In fact, mention the name Tory to Mrs. Warren, and her wit was ever ready to sharpen its shafts against British life in America. That is probably why so many believe she wrote "The Motley Assembly," a farce, though some there be who claim that its authorship belongs to J. M. Sewall. Dr. F. W. Atkinson asserts that this was the first American play to have in it only American characters.[4]

The satirical farce was a popular dramatic form of the time. Mrs. Warren was particularly effective in wielding such a polemic note, for instance, when she deals with the Boston Massacre in her Tragedy, "The Adulateur" (Boston: Printed[Pg 214] and sold at the New Printing-Office, /Near Concert-Hall./ M,DCC,LXXIII./). On the King's side, however, the writers were just as effective. Such an example is seen in "The Battle of Brooklyn, A farce of Two Acts: as it was performed at Long-Island, on Tuesday, the 27th of August, 1776, By the Representatives of the Tyrants of America, Assembled at Philadelphia" (Edinburgh: Printed in the Year M.DCC. LXXVII.), in which the British ridicule all that is Continental, even Washington. This farce was reprinted in Brooklyn, 1873.

Jonathan Mitchell Sewall's (1748-1808) "A Cure for the Spleen; or, Amusement for a Winter's Evening" (1775) was another Tory protest, which carried the following pretentious subtitle: "Being the substance of a conversation on the Times, over a friendly tankard and pipe, between Sharp, a country Parson; Bumper, a country Justice; Fillpot, an inn-keeper; Graveairs, a Deacon; Trim, a Barber; Brim, a Quaker; Puff, a late Representative. Taken in short-hand by Roger de Coverly."

Mrs. Warren was the intimate friend of many interesting people. It concerns us, however, that her most significant correspondence of a literary nature was carried on with John Adams, afterwards President of the United States. This friendship remained unbroken until such time as Mrs. Warren found it necessary to picture Adams in her History of the Revolution; when he objected to the portraiture.

The student of history is beholden to Mr. Adams for many of those intimate little sketches of Revolutionary and early national life in America, without which our impressions would be much the poorer. His admiration for Mrs. Warren was great, and even in his correspondence with her husband, James Warren, he never allowed an opportunity to slip for alluding to her work as a literary force in the life of the time. I note, for example, a letter he wrote on December 22, 1773, suggesting a theme which would "become" Mrs. Warren's pen, "which has no equal that I know of in this country."

In 1775, after "The Group" was written, and, according to custom, submitted by Warren to John Adams for criticism and approval, we find him praising Mrs. Warren, and quoting from her play. So poignantly incisive was Mrs. Warren's satire that many people would not credit her with the pieces she actually wrote, and there were those who thought it incredible that a[Pg 215] woman should use satire so openly and so flagrantly as she. The consequence is, many of her contemporaries attributed the writing of "The Group" to masculine hands, and this attitude drew from Mrs. Warren the following letter written to Mr. Adams:

This letter was written long after the Revolution, when she was not loath to let it be known that she was the creator of this little play, and is clearly indicative of the general attitude the public had toward Mrs. Warren as an author. Her appeal instantly called forth a courteous rejoinder from Mr. Adams, who wrote:

What brain could ever have conceived or suspected Samuel Barrett, Esquire, to have been the author of "The Group"? The bishop has neither the natural genius nor the acquired talents, the knowledge of characters, nor the political principles, sentiments, or feelings, that could have dictated that pungent drama. His worthy brother, the Major, might have been as rationally suspected.

I could take my Bible oath to two propositions, 1st. That Bishop Barrett, in my opinion, was one of the last literary characters in the world who ought to have been suspected to have written "The Group." 2d. That there was but one person in the world, male or female, who could at that time, in my opinion, have written it; and that person was Madam Mercy Warren, the historical, philosophical, poetical, and satirical consort of the then Colonel, since General, James Warren of Plymouth, sister of the great, but forgotten, James Otis.

According to Adams, he immediately went to the Boston Athenæum, where his nephew, W. S. Shaw, was Librarian. He drew from the shelves a copy of "The Group", which had been bought from the collection of Governor Adams of Massachusetts, and forthwith, on looking it over, wrote down the original[Pg 216] names of the people satirized therein.[5] This copy is still a valuable possession of the library.

While Mrs. Warren was writing "The Group," she sent it piecemeal to her husband, who was on the field of battle. He, being proud of the literary attainments of his wife, sent it around to his friends, under seal of secrecy. And his appeal to these friends was very significant of the pride he felt in the manuscript. Here is what he wrote to Adams, on January 15, 1775:

It gradually became known among Warren's friends who the real writer of the satire was, much to the consternation of Mrs. Mercy Warren. She was modest to the extreme, usually being thrust into writing on particular subjects by the enthusiasm of her friends. For example, she wrote a poem on the Boston Tea Party, and, in sending it to her husband, she confessed that it was a task

Mrs. Warren was the author of several other plays, among them "The Adulateur" and "The Retreat," which preceded[Pg 217] "The Group" in date of composition, and "The Sack of Rome." The latter was contained in a volume of poems issued in 1790, in which "The Ladies of Castile" was dedicated to President Washington, who wrote the author a courteous note in acknowledgment.

In the preface to this volume, Mrs. Warren gives her impressions of the stage, which are excellent measure of the regard Americans of this period had for the moral influence of the playhouse. Thus, she writes:

But Mrs. Warren was not entirely given over to the serious occupations of literary work. We find her on intimate terms with Mrs. Adams, the two of them in their daily association calling each other Portia and Marcia.

Who actually played in "The Group" when it was given a performance is not recorded. We know, however, from records, that it was given for the delectation of the audiences assembled "nigh head quarters, at Amboyne." This evidence is on the strength of Mrs. Warren's own statement. Sanction for the statement appears on the title-pages of the New York, John Anderson, issue of 1775,[6] and the Jamaica-Philadelphia, James Humphreys, Jr., edition of the same year.

I have selected this play, "The Group," as being an excellent example of the partisan writing done at the time of our American Revolution, and no one can afford to overlook it, although its actable qualities, according to our present-day judgment, are doubtful.

FOOTNOTES:

[1] Mrs. Warren was born at Barnstable, Mass., September 25, 1728, and died at Plymouth, Mass., October 19, 1814.

[2] The/Blockheads:/or, the/Affrighted Officers. /A/Farce. /Boston:/ Printed in Queen-Street,/M,DCC,LXXVI./

[3] On the title-page of the Boston edition there appears the following proem: "As the great business of the polite world is the eager pursuit of amusement, and as the Public diversions of the season have been interrupted by the hostile parade in the capital; the exhibition of a new farce may not be unentertaining."

[4] The /Motley /Assembly, /A /Farce. /Published /For the /Entertainment /of the / Curious. /Boston: /Printed and Sold by Nathaniel Coverly, in /Newbury-Street, / M,DCC,LXXIX./

[5] Mrs. Warren's biographer, Alice Brown, quotes the list, as follows, the persons satirized being in parentheses: Lord Chief Justice Hazlerod (Oliver); Judge Meagre (E. Hutchinson); Brigadier Hateall (Ruggles); Hum Humbug, Esq., (Jno. Erving); Sir Sparrow Spendall (Sir Wm. Pepperell); Hector Mushroom (Col. Murray); Beau Trumps (Jno. Vassall); Dick, the Publican (Lechmere); Monsieur de François (N. R. Thomas); Crusty Crowbar, Esq. (J. Boutineau); Dupe,—Secretary of State (T. Flucker); Scriblerius Fribble (Leonard); Commodore Bateau (Loring). The significance of these names will be apparent to student of local Colonial history.

[6] The /Group,/ A / Farce: / As lately Acted, and to be Re-acted, to the Wonder/ of all superior Intelligences; /Nigh Head Quarters, at/ Amboyne. /In Two Acts./ New-York: / Printed by John Anderson,/ at Beekman's-Slip./ [The Boston edition was printed and sold by Edes and Gill, in Queen-Street, 1775.]

The Author has thought proper to borrow the following spirited lines from a late celebrated Poet, and offer to the public, by way of Prologue, which cannot fail of pleasing at this crisis.

DRAMATIS PERSONÆ

Attended by a swarm of court sycophants, hungry harpies, and unprincipled danglers, collected from the neighbouring villages, hovering over the stage in the shape of locusts, led by Massachusettensis in the form of a basilisk; the rear brought up by Proteus, bearing a torch in one hand, and a powder-flask in the other. The whole supported by a mighty army and navy, from Blunderland, for the laudable purpose of enslaving its best friends.[Pg 223]

The

GROUP

Farce

ACT I.

Pho—what misgivings—why these idle qualms,
This shrinking backwards at the bugbear conscience;
In early life I heard the phantom nam'd,
And the grave sages prate of moral sense
Presiding in the bosom of the just;
Or planting thongs about the guilty heart.
Bound by these shackles, long my lab'ring mind,
Obscurely trod the lower walks of life,
In hopes by honesty my bread to gain;
But neither commerce, or my conjuring rods,
Nor yet mechanics, or new fangled drills,
Or all the iron-monger's curious arts,
Gave me a competence of shining ore,[Pg 225]
Or gratify'd my itching palm for more;
Till I dismiss'd the bold intruding guest,
And banish'd conscience from my wounded breast.

Resolv'd more rapidly to gain my point,
I mounted high in justice's sacred seat,
With flowing robes, and head equip'd without,
A heart unfeeling and a stubborn soul,
As qualify'd as e'er a Jefferies was;
Save in the knotty rudiments of law,
The smallest requisite for modern times,
When wisdom, law, and justice are supply'd
By swords, dragoons, and ministerial nods,
Sanctions most sacred in the Pander's creed,
I sold my country for a splendid bribe.
Now let her sink—and all the dire alarms
Of war, confusion, pestilence, and blood,
And tenfold mis'ry be her future doom—
Let civil discord lift her sword on high,
Nay, sheath its hilt e'en in my brother's blood;
It ne'er shall move the purpose of my soul;
Tho' once I trembled at a thought so bold;
By Philalethes's arguments, convinc'd,
We may live Demons, as we die like brutes,
I give my tears, and conscience to the winds.

They shall—as sure as oaths or bond can bind;
I've boldly sent my new-born brat abroad,
Th' association of my morbid brain,
To which each minion must affix his name,
As all our hope depends on brutal force,
On quick destruction, misery, and death;
Soon may we see dark ruin stalk around,
With murder, rapine, and inflicted pains;
Estates confiscate, slav'ry, and despair,
Wrecks, halters, axes, gibbeting and chains,
All the dread ills that wait on civil war;——
How I could glut my vengeful eyes to see
The weeping maid thrown helpless on the world,
Her sire cut off.—Her orphan brothers stand,
While the big tear rolls down the manly cheek.[Pg 227]
Robb'd of maternal care by grief's keen shaft,
The sorrowing mother mourns her starving babes,
Her murder'd lord torn guiltless from her side,
And flees for shelter to the pitying grave
To screen at once from slavery and pain.

ACT II.

Hateall, Hazlerod, Monsieur, Beau Trumps, Simple, Humbug, Sir Sparrow, &c., &c.

Could I give up the dread of retribution,
The awful reck'ning of some future day,
Like surly Hateall I might curse mankind,
And dare the threat'ned vengeance of the skies.
Or like yon apostate——

[Pointing to Hazlerod, retired to a corner to read Massachusettensis.

Feel but slight remorse
To sell my country for a grasp of gold.
But the impressions of my early youth,
Infix'd by precepts of my pious sire,
Are stings and scorpions in my goaded breast;
Oft have I hung upon my parent's knee
And heard him tell of his escape from France;
He left the land of slaves, and wooden shoes;
From place to place he sought a safe retreat,
Till fair Bostonia stretch'd her friendly arm
And gave the refugee both bread and peace:
(Shall I ungrateful 'rase the sacred bonds,
And help to clank the tyrant's iron chains
O'er these blest shores—once the sure asylum
From all the ills of arbitrary sway?)
With his expiring breath he bade his sons,
If e'er oppression reach'd the western world,
Resist its force, and break the servile yoke.

When first I enter'd on the public stage
My country groan'd beneath base Brundo's hand,
Virtue look'd fair and beckon'd to her lure,
Thro' truth's bright mirror I beheld her charms
And wish'd to tread the patriotic path
And wear the laurels that adorn his fame;
I walk'd a while and tasted solid peace
With Cassius, Rusticus, and good Hortensius,
And many more, whose names will be rever'd
When you, and I, and all the venal herd,
Weigh'd in Nemesis, just impartial scale,
Are mark'd with infamy, till time blot out
And in oblivion sink our hated names.
But 'twas a poor unprofitable path,[Pg 230]
Nought to be gain'd, save solid peace of mind,
No pensions, place or title there I found;
I saw Rapatio's arts had struck so deep
And giv'n his country such a fatal wound,
None but his foes promotion could expect;
I trim'd, and pimp'd, and veer'd, and wav'ring stood,
But half resolv'd to shew myself a knave,
Till the Arch Traitor prowling round for aid
Saw my suspense and bade me doubt no more;—
He gently bow'd, and smiling took my hand,
And whispering softly in my list'ning ear,
Shew'd me my name among his chosen band,
And laugh'd at virtue dignifi'd by fools,
Clear'd all my doubts, and bade me persevere
In spite of the restraints, or hourly checks
Of wounded friendship, and a goaded mind,
Or all the sacred ties of truth and honour.

I think with you——
——unparalleled his effront'ry,
When by chican'ry and specious art,
'Midst the distress in which he'd brought the city,
He found a few (by artifice and cunning,
By much industry of his wily friend
The false Philanthrop——sly undermining tool,
Who with the Syren's voice——
Deals daily round the poison of his tongue)[Pg 231]
To speak him fair—and overlook his guilt.
They by reiterated promise made
To stand his friend at Britain's mighty court,
And vindicate his native injur'd land,
Lent him their names to sanctify his deeds.
But mark the traitor——his high crimes gloss'd o'er
Conceals the tender feelings of the man,
The social ties that bind the human heart;
He strikes a bargain with his country's foes,
And joins to wrap America in flames.
Yet with feign'd pity, and Satanic grin,
As if more deep to fix the keen insult,
Or make his life a farce still more complete,
He sends a groan across the broad Atlantic,
And with a phiz of Crocodilian stamp,
Can weep, and wreathe, still hoping to deceive,
He cries the gath'ring clouds hang thick about her,
But laughs within——then sobs——
——Alas! my country?

I know his guilt,—I ever knew the man,
Thy father knew him e'er we trod the stage;
I only speak to such as know him well;
Abroad I tell the world he is a saint,
But as for int'rest I betray'd my own
With the same views, I rank'd among his friends:
But my ambition sighs for something more.
What merits has Sir Sparrow of his own,
And yet a feather graces the fool's cap:
Which did he wear for what himself achiev'd,
'Twould stamp some honour on his latest heir——
But I'll suspend my murm'ring care awhile;
Come, t' other glass——and try our luck at Loo,
And if before the dawn your gold I win,
Or e'er bright Phœbus does his course begin,
The eastern breeze from Britain's hostile shore[Pg 232]
Should waft her lofty floating towers o'er,
Whose waving pendants sweep the wat'ry main,
Dip their proud beaks and dance towards the plain,
The destin'd plains of slaughter and distress,
Laden with troops from Hanover and Hess,
It would invigorate my sinking soul,
For then the continent we might control;
Not all the millions that she vainly boasts
Can cope with Veteran Barbarian hosts;——
But the brave sons of Albion's warlike race,
Their arms, and honours, never can disgrace,
Or draw their swords in such a hated cause,
In blood to seal a N——'s oppressive laws,
They'll spurn the service;——Britons must recoil,
And shew themselves the natives of an isle
Who sought for freedom, in the worst of times
Produc'd her Hampdens, Fairfaxes, and Pyms.
But if by carnage we should win the game,
Perhaps by my abilities and fame:
I might attain a splendid glitt'ring car,
And mount aloft, and sail in liquid air.
Like Phaëton, I'd then out-strip the wind,
And leave my low competitors behind.

*** END OF THE PROJECT GUTENBERG EBOOK THE GROUP: A FARCE ***

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 The Group: A Farce