The Project Gutenberg eBook of Widger's Quotations from the Project Gutenberg Editions of Dumas' Celebrated Crimes, by Alexandre Dumas and David Widger

[Portions of this header are copyright (C) 2001 by Michael S. Hart and may be reprinted only when these Etexts are free of all fees.] [Project Gutenberg is a TradeMark and may not be used in any sales of Project Gutenberg Etexts or other materials be they hardware or software or any other related product without express permission.]

WIDGER'S QUOTATIONS

FROM THE PROJECT GUTENBERG EDITION OF CELEBRATED CRIMES BY ALEXANDRE DUMAS, PERE

EDITOR'S NOTE

Readers acquainted with the Celebrated Crimes of Alexandre Dumas may wish to see if their favorite passages are listed in this selection. The etext editor will be glad to add your suggestions. One of the advantages of internet over paper publication is the ease of quick revision.

All the titles may be found using the Project Gutenberg search engine at: http://promo.net/pg/

After downloading a specific file, the location and complete context of the quotations may be found by inserting a small part of the quotation into the 'Find' or 'Search' functions of the user's word processing program.

The quotations are in two formats: 1. Small passages from the text. 2. Lists of alphabetized one-liners.

The editor may be contacted at <widger@cecomet.net> for comments, questions or suggested additions to these extracts.

D.W.

WIDGER'S QUOTATIONS

FROM CELEBRATED CRIMES BY ALEXANDRE DUMAS, PERE

CONTENTS:

     THE BORGIAS
     THE CENCI
     MASSACRES OF THE SOUTH
     MARY STUART
     KARL-LUDWIG SAND
     URBAIN GRANDIER
     NISIDA
     DERUES
     LA CONSTANTIN
     JOAN OF NAPLES
     THE MAN IN THE IRON MASK (The Essay, not the Novel)
     MARTIN GUERRE
     ALI PACHA
     THE COUNTESS DE SAINT GERAN
     MURAT
     THE MARQUISE DE BRINVILLIERS
     VANINKA
     THE MARQUISE DE GANGES

NOTE:

Dumas's 'Celebrated Crimes' was not written for children. The novelist has spared no language—has minced no words—to describe the violent scenes of a violent time.

In some instances facts appear distorted out of their true perspective, and in others the author makes unwarranted charges. It is not within our province to edit the historical side of Dumas, any more than it would be to correct the obvious errors in Dickens's Child's History of England. The careful, mature reader, for whom the books are intended, will recognize, and allow for, this fact.

INTRODUCTION:

The contents of these volumes of 'Celebrated Crimes', as well as the motives which led to their inception, are unique. They are a series of stories based upon historical records, from the pen of Alexandre Dumas, pere, when he was not "the elder," nor yet the author of D'Artagnan or Monte Cristo, but was a rising young dramatist and a lion in the literary set and world of fashion.

Dumas, in fact, wrote his 'Crimes Celebres' just prior to launching upon his wonderful series of historical novels, and they may therefore be considered as source books, whence he was to draw so much of that far-reaching and intimate knowledge of inner history which has perennially astonished his readers. The Crimes were published in Paris, in 1839-40, in eight volumes, comprising eighteen titles—all of which now appear in the present carefully translated text. The success of the original work was instantaneous. Dumas laughingly said that he thought he had exhausted the subject of famous crimes, until the work was off the press, when he immediately became deluged with letters from every province in France, supplying him with material upon other deeds of violence! The subjects which he has chosen, however, are of both historic and dramatic importance, and they have the added value of giving the modern reader a clear picture of the state of semi-lawlessness which existed in Europe, during the middle ages. "The Borgias, the Cenci, Urbain Grandier, the Marchioness of Brinvilliers, the Marchioness of Ganges, and the rest—what subjects for the pen of Dumas!" exclaims Garnett.

Space does not permit us to consider in detail the material here collected, although each title will be found to present points of special interest. The first volume comprises the annals of the Borgias and the Cenci. The name of the noted and notorious Florentine family has become a synonym for intrigue and violence, and yet the Borgias have not been without stanch defenders in history.

Another famous Italian story is that of the Cenci. The beautiful Beatrice Cenci—celebrated in the painting of Guido, the sixteenth century romance of Guerrazi, and the poetic tragedy of Shelley, not to mention numerous succeeding works inspired by her hapless fate— will always remain a shadowy figure and one of infinite pathos.

The second volume chronicles the sanguinary deeds in the south of France, carried on in the name of religion, but drenching in blood the fair country round about Avignon, for a long period of years.

The third volume is devoted to the story of Mary Queen of Scots, another woman who suffered a violent death, and around whose name an endless controversy has waged. Dumas goes carefully into the dubious episodes of her stormy career, but does not allow these to blind his sympathy for her fate. Mary, it should be remembered, was closely allied to France by education and marriage, and the French never forgave Elizabeth the part she played in the tragedy.

The fourth volume comprises three widely dissimilar tales. One of the strangest stories is that of Urbain Grandier, the innocent victim of a cunning and relentless religious plot. His story was dramatised by Dumas, in 1850. A famous German crime is that of Karl-Ludwig Sand, whose murder of Kotzebue, Councillor of the Russian Legation, caused an international upheaval which was not to subside for many years.

An especially interesting volume is number six, containing, among other material, the famous "Man in the Iron Mask." This unsolved puzzle of history was later incorporated by Dumas in one of the D'Artagnan Romances a section of the Vicomte de Bragelonne, to which it gave its name. But in this later form, the true story of this singular man doomed to wear an iron vizor over his features during his entire lifetime could only be treated episodically. While as a special subject in the Crimes, Dumas indulges his curiosity, and that of his reader, to the full. Hugo's unfinished tragedy,'Les Jumeaux', is on the same subject; as also are others by Fournier, in French, and Zschokke, in German.

Other stories can be given only passing mention. The beautiful poisoner, Marquise de Brinvilliers, must have suggested to Dumas his later portrait of Miladi, in the Three Musketeers, the mast celebrated of his woman characters. The incredible cruelties of Ali Pacha, the Turkish despot, should not be charged entirely to Dumas, as he is said to have been largely aided in this by one of his "ghosts," Mallefille.

"Not a mere artist"—writes M. de Villemessant, founder of the Figaro,—"he has nevertheless been able to seize on those dramatic effects which have so much distinguished his theatrical career, and to give those sharp and distinct reproductions of character which alone can present to the reader the mind and spirit of an age. Not a mere historian, he has nevertheless carefully consulted the original sources of information, has weighed testimonies, elicited theories, and . . . has interpolated the poetry of history with its most thorough prose."

WIDGER'S QUOTATIONS

FROM ALEXANDRE DUMAS CELEBRATED CRIMES

Indeed, Caesar (Borgia) had the power of persuasion as a gift from heaven; and though they perfectly well knew his duplicity, they had no power of resisting, not so much his actual eloquence as that air of frank good-nature which Macchiavelli so greatly admired, and which indeed more than once deceived even him, wily politician as he was.

The vice-chamberlain (a Cardinal) one day remarked in public, when certain people were complaining of the venality of justice, "God wills not that a sinner die, but that he live and pay."

The same day, the cardinal's mother sent the pope the 2000 ducats, and the next day his mistress, in man's attire, came in person to bring the missing pearl. His Holiness, however, was so struck with her beauty in this costume, that, we are told, he let her keep the pearl for the same price she had paid for it.

Roderigo, retired from public affairs, was given up entirely to the affections of a lover and a father, when he heard that his uncle, who loved him like a son, had been elected pope under the name of Calixtus III. But the young man was at this time so much a lover that love imposed silence on ambition; and indeed he was almost terrified at the exaltation of his uncle, which was no doubt destined to force him once more into public life.

On the 11th of August, 1492, after the lingering death-agony of Innocent VIII, during which two hundred and twenty murders were committed in the streets of Rome, Alexander VI ascended the pontifical throne. Son of a sister of Pope Calixtus III, Roderigo Lenzuoli Borgia, before being created cardinal, had five children by Rosa Vanozza, whom he afterwards caused to be married to a rich Roman.

Having seen that Beatrice was sentenced to the torture ordinary and extraordinary, and having explained the nature of these tortures, we proceed to quote the official report:— "And as in reply to every question she would confess nothing, we caused her to be taken by two officers and led from the prison to the torture chamber, where the torturer was in attendance; there, after cutting off her hair, he made her sit on a small stool, undressed her, pulled off her shoes, tied her hands behind her back, fastened them to a rope passed over a pulley bolted into the ceiling of the aforesaid chamber, and wound up at the other end by a four lever windlass, worked by two men."

The massacres went on during the whole of the second day, though towards evening the search for victims relaxed somewhat; but still many isolated acts of murder took place during the night. On the morrow, being tired of killing, the people began to destroy, and this phase lasted a long time, it being less fatiguing to throw stones about than corpses. All the convents, all the monasteries, all the houses of the priests and canons were attacked in turn; nothing was spared except the cathedral, before which axes and crowbars seemed to lose their power, and the church of Ste. Eugenie, which was turned into a powder-magazine. The day of the great butchery was called "La Michelade," because it took place the day after Michaelmas, and as all this happened in the year 1567 the Massacre of St. Bartholomew must be regarded as a plagiarism.

But from this period, each flux and reflux bears more and more the peculiar character of the party which for the moment is triumphant; when the Protestants get the upper hand, their vengeance is marked by brutality and rage; when the Catholics are victorious, the retaliation is full of hypocrisy and greed. The Protestants pull down churches and monasteries, expel the monks, burn the crucifixes, take the body of some criminal from the gallows, nail it on a cross, pierce its side, put a crown of thorns round its temples and set it up in the market-place—an effigy of Jesus on Calvary. The Catholics levy contributions, take back what they had been deprived of, exact indemnities, and although ruined by each reverse, are richer than ever after each victory.

Mary was a harmony in which the most ardent enthusiast for sculptured form could have found nothing to reproach. This was indeed Mary's great and real crime: one single imperfection in face or figure, and she would not have died upon the scaffold. Besides, to Elizabeth, who had never seen her, and who consequently could only judge by hearsay, this beauty was a great cause of uneasiness and of jealousy, which she could not even disguise, and which showed itself unceasingly in eager questions.

Unfortunately for her honour, Mary, always more the woman than the queen, while, on the contrary, Elizabeth was always more the queen than the woman, had no sooner regained her power than her first royal act was to exhume Rizzio, who had been quietly buried on the threshold of the chapel nearest Holyrood Palace, and to have him removed to the burial-place of the Scottish kings, compromising herself still more by the honours she paid him dead, than by the favour she had granted him living.

The priests had already begun to sing the death hymn; the executioner was ready, the procession had set out, when Solomon the fisherman appeared suddenly on the threshold of the prison, his eyes aflame and his brow radiant with the halo of the patriarchs. The old man drew himself up to his full height, and raising in one hand the reddened knife, said in a sublime voice, "The sacrifice is fulfilled. God did not send His angel to stay the hand of Abraham."

[The details of this case are recorded in the archives of the Criminal Court at Naples. We have changed nothing in the age or position of the persons who appear in this narrative. One of the most celebrated advocates at the Neapolitan bar secured the acquittal of the old man.]

Fundamentally nothing is great, you see, and nothing small, when things are looked at apart from one another.

Let fall from the height of his superiority a few of those disdainful words which brand as deeply as a red-hot iron.

Fourneau having saluted Grandier, proceeded to carry out his orders, whereupon a judge said it was not sufficient to shave the body of the prisoner, but that his nails must also be torn out, lest the devil should hide beneath them. Grandier looked at the speaker with an expression of unutterable pity, and held out his hands to Fourneau; but Forneau put them gently aside, and said he would do nothing of the kind, even were the order given by the cardinal-duke himself.

Madly in love, which is the same as saying that he was hopelessly blind, silly, and dense to everything around him.

It is singular how very clear-sighted we can be about things that don't touch us.

There in semi-isolation and despoiled of her greatness lived Angelique-Louise de Guerchi, formerly companion to Mademoiselle de Pons and then maid of honour to Anne of Austria. Her love intrigues and the scandals they gave rise to had led to her dismissal from court. Not that she was a greater sinner than many who remained behind, only she was unlucky enough or stupid enough to be found out. Her admirers were so indiscreet that they had not left her a shred of reputation, and in a court where a cardinal is the lover of a queen, a hypocritical appearance of decorum is indispensable to success. So Angelique had to suffer for the faults she was not clever enough to hide.

"All passions," says La Bruyere,—"all passions are deceitful; they disguise themselves as much as possible from the public eye; they hide from themselves. There is no vice which has not a counterfeit resemblance to some virtue, and which does not profit by it."

The whole life of Derues bears testimony to the truth of this observation. An avaricious poisoner, he attracted his victims by the pretence of fervent and devoted piety, and drew them into the snare where he silently destroyed them.

As soon as his head was covered, the executioner gave the signal. One would have thought a very few blows would have finished so frail a being, but he seemed as hard to kill as the venomous reptiles which must be crushed and cut to pieces before life is extinct, and the 'coup de grace' was found necessary. The executioner uncovered his head and showed the confessor that the eyes were closed and that the heart had ceased to beat. The body was then removed from the cross, the hands and feet fastened together, and it was thrown on the funeral pile. While the execution was proceeding the people applauded. On the morrow they bought up the fragments of bone, and hastened to buy lottery tickets, in the firm conviction that these precious relics would bring luck to the fortunate possessors!

Voltaire added a few further details which had been given him by M. de Bernaville, the successor of M. de Saint-Mars, and by an old physician of the Bastille who had attended the prisoner whenever his health required a doctor, but who had never seen his face, although he had "often seen his tongue and his body." He also asserted that M. de Chamillart was the last minister who was in the secret, and that when his son-in-law, Marshal de la Feuillade, besought him on his knees, de Chamillart being on his deathbed, to tell him the name of the Man in the Iron Mask, the minister replied that he was under a solemn oath never to reveal the secret, it being an affair of state. To all these details, which the marshal acknowledges to be correct, Voltaire adds a remarkable note: "What increases our wonder is, that when the unknown captive was sent to the Iles Sainte-Marguerite no personage of note disappeared from the European stage."

The next morning the people were beforehand with the executioner, loudly demanding their prey. All the national troops and mercenaries that the judicial authorities could command were echelonned in the streets, opposing a sort of dam to the torrent of the raging crowd. The sudden insatiable cruelty that too often degrades human nature had awaked in the populace: all heads were turned with hatred and frenzy; all imaginations inflamed with the passion for revenge; groups of men and women, roaring like wild beasts, threatened to knock down the walls of the prison, if the condemned were not handed over to them to take to the place of punishment: a great murmur arose, continuous, ever the same, like the growling of thunder: the queen's heart was petrified with terror.

That same evening the sentence, to the great joy of all, was proclaimed, that Joan was innocent and acquitted of all concern in the assassination of her husband. But as her conduct after the event and the indifference she had shown about pursuing the authors of the crime admitted of no valid excuse, the pope declared that there were plain traces of magic, and that the wrong-doing attributed to Joan was the result of some baneful charm cast upon her, which she could by no possible means resist.

On the 10th of, August 1557, an inauspicious day in the history of France, the roar of cannon was still heard at six in the evening in the plains of St. Quentin; where the French army had just been destroyed by the united troops of England and Spain, commanded by the famous Captain Emanuel Philibert, Duke of Savoy. An utterly beaten infantry, the Constable Montmorency and several generals taken prisoner, the Duke d'Enghien mortally wounded, the flower of the nobility cut down like grass,—such were the terrible results of a battle which plunged France into mourning, and which would have been a blot on the reign of Henry II, had not the Duke of Guise obtained a brilliant revenge the following year.

This sentence substituted the gallows for the decapitation decreed by the first judge, inasmuch as the latter punishment was reserved for criminals of noble birth, while hanging was inflicted on meaner persons.

Albania was one of the most difficult provinces to manage. Its inhabitants were poor, brave, and, the nature of the country was mountainous and inaccessible. The pashas had great difficulty in collecting tribute, because the people were given to fighting for their bread. Whether Mahomedans or Christians, the Albanians were above all soldiers. Descended on the one side from the unconquerable Scythians, on the other from the ancient Macedonians, not long since masters of the world; crossed with Norman adventurers brought eastwards by the great movement of the Crusades; they felt the blood of warriors flow in their veins, and that war was their element. Sometimes at feud with one another, canton against canton, village against village, often even house against house; sometimes rebelling against the government their sanjaks; sometimes in league with these against the sultan; they never rested from combat except in an armed peace. Each tribe had its military organisation, each family its fortified stronghold, each man his gun on his shoulder. When they had nothing better to do, they tilled their fields, or mowed their neighbours', carrying off, it should be noted, the crop; or pastured their, flocks, watching the opportunity to trespass over pasture limits. This was the normal and regular life of the population of Epirus, Thesprotia, Thessaly, and Upper Albania.

On the 18th June, 1815, at the very moment when the destiny of Europe was being decided at Waterloo, a man dressed like a beggar was silently following the road from Toulon to Marseilles.

Arrived at the entrance of the Gorge of Ollioulles, he halted on a little eminence from which he could see all the surrounding country; then either because he had reached the end of his journey, or because, before attempting that forbidding, sombre pass which is called the Thermopylae of Provence, he wished to enjoy the magnificent view which spread to the southern horizon a little longer, he went and sat down on the edge of the ditch which bordered the road, turning his back on the mountains which rise like an amphitheatre to the north of the town, and having at his feet a rich plain covered with tropical vegetation, exotics of a conservatory, trees and flowers quite unknown in any other part of France.

"Could not, for instance," said the marquis, "a confinement be effected without pain?"

"I don't know about that, but this I do" know, that I shall take very good care not to practise any method contrary to the laws of nature."

"You are deceiving me: you are acquainted with this method, you have already practised it upon a certain person whom I could name to you."

"Who has dared to calumniate me thus? I operate only after the decision of the Faculty. God forbid that I should be stoned by all the physicians, and perhaps expelled from France!"

When the prayer was done and the doctor raised his head, he saw before him the executioner wiping his face. "Well, sir," said he, "was not that a good stroke? I always put up a prayer on these occasions, and God has always assisted me; but I have been anxious for several days about this lady. I had six masses said, and I felt strengthened in hand and heart." He then pulled out a bottle from under his cloak, and drank a dram; and taking the body under one arm, all dressed as it was, and the head in his other hand, the eyes still bandaged, he threw both upon the faggots, which his assistant lighted.

"The next day," says Madame de Sevigne, "people were looking for the charred bones of Madame de Brinvilliers, because they said she was a saint."

The beginnings of this union were perfectly happy; the marquis was in love for the first time, and the marquise did not remember ever to have been in love. A son and a daughter came to complete their happiness. The marquise had entirely forgotten the fatal prediction, or, if she occasionally thought of it now, it was to wonder that she could ever have believed in it. Such happiness is not of this world, and when by chance it lingers here a while, it seems sent rather by the anger than by the goodness of God. Better, indeed, would it be for him who possesses and who loses it, never to have known it.

About the end of the reign of the Emperor Paul I—that is to say, towards the middle of the first year of the nineteenth century—just as four o'clock in the afternoon was sounding from the church of St. Peter and St. Paul, whose gilded vane overlooks the ramparts of the fortress, a crowd, composed of all sorts and conditions of people, began to gather in front of a house which belonged to General Count Tchermayloff, formerly military governor of a fair-sized town in the government of Pultava. The first spectators had been attracted by the preparations which they saw had been made in the middle of the courtyard for administering torture with the knout. One of the general's serfs, he who acted as barber, was to be the victim.

Although this kind of punishment was a common enough sight in St. Petersburg, it nevertheless attracted all passers-by when it was publicly administered. This was the occurrence which had caused a crowd, as just mentioned, before General Tchermayloff's house.

THE COMPLETE CELEBRATED CRIMES BY ALEXANDRE DUMAS, PERE dcrim10.txt or dcrim10.zip [Etext #2760]

Air of frank good-nature which Macchiavelli so greatly admired
All passions are deceitful
Always in extremes, whether of enthusiasm or hatred
Besieged on all sides by mediocrities
Danger of driving the vanquished to despair
Determination to exact his strict legal rights
Disdainful words which brand as deeply as a red-hot iron
Doubting spirit which was unhappily so prevalent
Forgetfulness is the best cure for the losses we suffer
Fundamentally nothing is great, you see, and nothing small
God wills not that a sinner die, but that he live and pay
Influence he had gained over the narrow-minded
Interpolated according to the needs of the prosecution
Italy and Greece seemed to be mere suburbs of Venice
Jesus, Son of David and Mary
Knew how short was the space between a prison and a tomb
Let her keep the pearl for the same price she had paid for it
Madly in love-that is to say silly and blind
Method contrary to the laws of nature
More absurd the reports, the more credence did they gain
No vice which has not a counterfeit resemblance to some virtue
Prejudices, which are sacred to the vulgar
Put to the question ordinary and extraordinary
So much a lover that love imposed silence on ambition
The last thing I should desire would be to be as dead as he
To draw back was to acknowledge one's guilt
Too commonplace ever to arrive at a high position
Vanity and self-satisfaction
Very clear-sighted we can be about things that don't touch us
Without fear of being called to account

*** END OF THE PROJECT GUTENBERG EBOOK WIDGER'S QUOTATIONS FROM THE PROJECT GUTENBERG EDITIONS OF DUMAS' CELEBRATED CRIMES ***

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.