The Project Gutenberg EBook of Henry James, Jr., by William Dean Howells

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org


Title: Henry James, Jr.

Author: William Dean Howells

Posting Date: July 23, 2008 [EBook #723]
Release Date: November, 1996

Language: English

Character set encoding: ASCII

*** START OF THIS PROJECT GUTENBERG EBOOK HENRY JAMES, JR. ***




Produced by Anthony J. Adam.








HENRY JAMES, JR.

by

William Dean Howells



The events of Mr. James's life--as we agree to understand events--may
be told in a very few words.  His race is Irish on his father's side
and Scotch on his mother's, to which mingled strains the generalizer
may attribute, if he likes, that union of vivid expression and
dispassionate analysis which has characterized his work from the first.
There are none of those early struggles with poverty, which render the
lives of so many distinguished Americans monotonous reading, to record
in his case:  the cabin hearth-fire did not light him to the youthful
pursuit of literature; he had from the start all those advantages
which, when they go too far, become limitations.

He was born in New York city in the year 1843, and his first lessons in
life and letters were the best which the metropolis--so small in the
perspective diminishing to that date--could afford.  In his twelfth
year his family went abroad, and after some stay in England made a long
sojourn in France and Switzerland.  They returned to America in 1860,
placing themselves at Newport, and for a year or two Mr. James was at
the Harvard Law School, where, perhaps, he did not study a great deal
of law.  His father removed from Newport to Cambridge in 1866, and
there Mr. James remained till he went abroad, three years later, for
the residence in England and Italy which, with infrequent visits home,
has continued ever since.

It was during these three years of his Cambridge life that I became
acquainted with his work.  He had already printed a tale--"The Story of
a Year"--in the "Atlantic Monthly," when I was asked to be Mr. Fields's
assistant in the management, and it was my fortune to read Mr. James's
second contribution in manuscript.  "Would you take it?" asked my
chief.  "Yes, and all the stories you can get from the writer."  One is
much securer of one's judgment at twenty-nine than, say, at forty-five;
but if this was a mistake of mine I am not yet old enough to regret it.
The story was called "Poor Richard," and it dealt with the conscience
of a man very much in love with a woman who loved his rival.  He told
this rival a lie, which sent him away to his death on the field,--in
that day nearly every fictitious personage had something to do with the
war,--but Poor Richard's lie did not win him his love.  It still seems
to me that the situation was strongly and finely felt.  One's pity
went, as it should, with the liar; but the whole story had a pathos
which lingers in my mind equally with a sense of the new literary
qualities which gave me such delight in it.  I admired, as we must in
all that Mr. James has written, the finished workmanship in which there
is no loss of vigor; the luminous and uncommon use of words, the
originality of phrase, the whole clear and beautiful style, which I
confess I weakly liked the better for the occasional gallicisms
remaining from an inveterate habit of French.  Those who know the
writings of Mr. Henry James will recognize the inherited felicity of
diction which is so striking in the writings of Mr. Henry James, Jr.
The son's diction is not so racy as the father's; it lacks its daring,
but it is as fortunate and graphic; and I cannot give it greater praise
than this, though it has, when he will, a splendor and state which is
wholly its own.

Mr. James is now so universally recognized that I shall seem to be
making an unwarrantable claim when I express my belief that the
popularity of his stories was once largely confined to Mr. Field's
assistant.  They had characteristics which forbade any editor to refuse
them; and there are no anecdotes of thrice-rejected manuscripts finally
printed to tell of him; his work was at once successful with all the
magazines.  But with the readers of "The Atlantic," of "Harper's," of
"Lippincott's," of "The Galaxy," of "The Century," it was another
affair.  The flavor was so strange, that, with rare exceptions, they
had to "learn to like" it.  Probably few writers have in the same
degree compelled the liking of their readers.  He was reluctantly
accepted, partly through a mistake as to his attitude--through the
confusion of his point of view with his private opinion--in the
reader's mind.  This confusion caused the tears of rage which bedewed
our continent in behalf of the "average American girl" supposed to be
satirized in Daisy Miller, and prevented the perception of the fact
that, so far as the average American girl was studied at all in Daisy
Miller, her indestructible innocence, her invulnerable new-worldliness,
had never been so delicately appreciated.  It was so plain that Mr.
James disliked her vulgar conditions, that the very people to whom he
revealed her essential sweetness and light were furious that he should
have seemed not to see what existed through him.  In other words, they
would have liked him better if he had been a worse artist--if he had
been a little more confidential.

But that artistic impartiality which puzzled so many in the treatment
of Daisy Miller is one of the qualities most valuable in the eyes of
those who care how things are done, and I am not sure that it is not
Mr. James's most characteristic quality.  As "frost performs the effect
of fire," this impartiality comes at last to the same result as
sympathy.  We may be quite sure that Mr. James does not like the
peculiar phase of our civilization typified in Henrietta Stackpole; but
he treats her with such exquisite justice that he lets US like her.  It
is an extreme case, but I confidently allege it in proof.

His impartiality is part of the reserve with which he works in most
respects, and which at first glance makes us say that he is wanting in
humor.  But I feel pretty certain that Mr. James has not been able to
disinherit himself to this degree.  We Americans are terribly in
earnest about making ourselves, individually and collectively; but I
fancy that our prevailing mood in the face of all problems is that of
an abiding faith which can afford to be funny.  He has himself
indicated that we have, as a nation, as a people, our joke, and every
one of us is in the joke more or less.  We may, some of us, dislike it
extremely, disapprove it wholly, and even abhor it, but we are in the
joke all the same, and no one of us is safe from becoming the great
American humorist at any given moment.  The danger is not apparent in
Mr. James's case, and I confess that I read him with a relief in the
comparative immunity that he affords from the national facetiousness.
Many of his people are humorously imagined, or rather humorously SEEN,
like Daisy Miller's mother, but these do not give a dominant color; the
business in hand is commonly serious, and the droll people are
subordinated.  They abound, nevertheless, and many of them are
perfectly new finds, like Mr. Tristram in "The American," the
bill-paying father in the "Pension Beaurepas," the anxiously
Europeanizing mother in the same story, the amusing little Madame de
Belgarde, Henrietta Stackpole, and even Newman himself.  But though Mr.
James portrays the humorous in character, he is decidedly not on
humorous terms with his reader; he ignores rather than recognizes the
fact that they are both in the joke.

If we take him at all we must take him on his own ground, for clearly
he will not come to ours.  We must make concessions to him, not in this
respect only, but in several others, chief among which is the motive
for reading fiction.  By example, at least, he teaches that it is the
pursuit and not the end which should give us pleasure; for he often
prefers to leave us to our own conjectures in regard to the fate of the
people in whom he has interested us.  There is no question, of course,
but he could tell the story of Isabel in "The Portrait of a Lady" to
the end, yet he does not tell it.  We must agree, then, to take what
seems a fragment instead of a whole, and to find, when we can, a name
for this new kind in fiction.  Evidently it is the character, not the
fate, of his people which occupies him; when he has fully developed
their character he leaves them to what destiny the reader pleases.

The analytic tendency seems to have increased with him as his work has
gone on.  Some of the earlier tales were very dramatic: "A Passionate
Pilgrim," which I should rank above all his other short stories, and
for certain rich poetical qualities, above everything else that he has
done, is eminently dramatic.  But I do not find much that I should call
dramatic in "The Portrait of a Lady," while I do find in it an amount
of analysis which I should call superabundance if it were not all such
good literature.  The novelist's main business is to possess his reader
with a due conception of his characters and the situations in which
they find themselves.  If he does more or less than this he equally
fails.  I have sometimes thought that Mr. James's danger was to do
more, but when I have been ready to declare this excess an error of his
method I have hesitated.  Could anything be superfluous that had given
me so much pleasure as I read?  Certainly from only one point of view,
and this a rather narrow, technical one.  It seems to me that an
enlightened criticism will recognize in Mr. James's fiction a
metaphysical genius working to aesthetic results, and will not be
disposed to deny it any method it chooses to employ.  No other
novelist, except George Eliot, has dealt so largely in analysis of
motive, has so fully explained and commented upon the springs of action
in the persons of the drama, both before and after the facts.  These
novelists are more alike than any others in their processes, but with
George Eliot an ethical purpose is dominant, and with Mr. James an
artistic purpose.  I do not know just how it should be stated of two
such noble and generous types of character as Dorothea and Isabel
Archer, but I think that we sympathize with the former in grand aims
that chiefly concern others, and with the latter in beautiful dreams
that primarily concern herself.  Both are unselfish and devoted women,
sublimely true to a mistaken ideal in their marriages; but, though they
come to this common martyrdom, the original difference in them remains.
Isabel has her great weaknesses, as Dorothea had, but these seem to me,
on the whole, the most nobly imagined and the most nobly intentioned
women in modern fiction; and I think Isabel is the more subtly divined
of the two.  If we speak of mere characterization, we must not fail to
acknowledge the perfection of Gilbert Osmond.  It was a profound stroke
to make him an American by birth.  No European could realize so fully
in his own life the ideal of a European dilettante in all the meaning
of that cheapened word; as no European could so deeply and tenderly
feel the sweetness and loveliness of the English past as the sick
American, Searle, in "The Passionate Pilgrim."

What is called the international novel is popularly dated from the
publication of "Daisy Miller," though "Roderick Hudson" and "The
American" had gone before; but it really began in the beautiful story
which I have just named.  Mr. James, who invented this species in
fiction, first contrasted in the "Passionate Pilgrim" the New World and
Old World moods, ideals, and prejudices, and he did it there with a
richness of poetic effect which he has since never equalled.  I own
that I regret the loss of the poetry, but you cannot ask a man to keep
on being a poet for you; it is hardly for him to choose; yet I compare
rather discontentedly in my own mind such impassioned creations as
Searle and the painter in "The Madonna of the Future" with "Daisy
Miller," of whose slight, thin personality I also feel the indefinable
charm, and of the tragedy of whose innocence I recognize the delicate
pathos.  Looking back to those early stories, where Mr. James stood at
the dividing ways of the novel and the romance, I am sometimes sorry
that he declared even superficially for the former.  His best efforts
seem to me those of romance; his best types have an ideal development,
like Isabel and Claire Belgarde and Bessy Alden and poor Daisy and even
Newman.  But, doubtless, he has chosen wisely; perhaps the romance is
an outworn form, and would not lend itself to the reproduction of even
the ideality of modern life.  I myself waver somewhat in my
preference--if it is a preference--when I think of such people as Lord
Warburton and the Touchetts, whom I take to be all decidedly of this
world.  The first of these especially interested me as a probable type
of the English nobleman, who amiably accepts the existing situation
with all its possibilities of political and social change, and insists
not at all upon the surviving feudalities, but means to be a manly and
simple gentleman in any event.  An American is not able to pronounce as
to the verity of the type; I only know that it seems probable and that
it is charming.  It makes one wish that it were in Mr. James's way to
paint in some story the present phase of change in England.  A titled
personage is still mainly an inconceivable being to us; he is like a
goblin or a fairy in a storybook.  How does he comport himself in the
face of all the changes and modifications that have taken place and
that still impend?  We can hardly imagine a lord taking his nobility
seriously; it is some hint of the conditional frame of Lord Warburton's
mind that makes him imaginable and delightful to us.

It is not my purpose here to review any of Mr. James's books; I like
better to speak of his people than of the conduct of his novels, and I
wish to recognize the fineness with which he has touched-in the pretty
primness of Osmond's daughter and the mild devotedness of Mr. Rosier.
A masterly hand is as often manifest in the treatment of such
subordinate figures as in that of the principal persons, and Mr. James
does them unerringly.  This is felt in the more important character of
Valentin Belgarde, a fascinating character in spite of its
defects,--perhaps on account of them--and a sort of French Lord
Warburton, but wittier, and not so good.  "These are my ideas," says
his sister-in-law, at the end of a number of inanities.  "Ah, you call
them ideas!" he returns, which is delicious and makes you love him.
He, too, has his moments of misgiving, apparently in regard to his
nobility, and his acceptance of Newman on the basis of something like
"manhood suffrage" is very charming.  It is of course difficult for a
remote plebeian to verify the pictures of legitimist society in "The
American," but there is the probable suggestion in them of conditions
and principles, and want of principles, of which we get glimpses in our
travels abroad; at any rate, they reveal another and not impossible
world, and it is fine to have Newman discover that the opinions and
criticisms of our world are so absolutely valueless in that sphere that
his knowledge of the infamous crime of the mother and brother of his
betrothed will have no effect whatever upon them in their own circle if
he explodes it there.  This seems like aristocracy indeed! and one
admires, almost respects, its survival in our day.  But I always
regretted that Newman's discovery seemed the precursor of his
magnanimous resolution not to avenge himself; it weakened the effect of
this, with which it had really nothing to do.  Upon the whole, however,
Newman is an adequate and satisfying representative of Americanism,
with his generous matrimonial ambition, his vast good-nature, and his
thorough good sense and right feeling.  We must be very hard to please
if we are not pleased with him.  He is not the "cultivated American"
who redeems us from time to time in the eyes of Europe; but he is
unquestionably more national, and it is observable that his unaffected
fellow-countrymen and women fare very well at Mr. James's hand always;
it is the Europeanizing sort like the critical little Bostonian in the
"Bundle of Letters," the ladies shocked at Daisy Miller, the mother in
the "Pension Beaurepas" who goes about trying to be of the "native"
world everywhere, Madame Merle and Gilbert Osmond, Miss Light and her
mother, who have reason to complain, if any one has.  Doubtless Mr.
James does not mean to satirize such Americans, but it is interesting
to note how they strike such a keen observer.  We are certainly not
allowed to like them, and the other sort find somehow a place in our
affections along with his good Europeans.  It is a little odd, by the
way, that in all the printed talk about Mr. James--and there has been
no end of it--his power of engaging your preference for certain of his
people has been so little commented on.  Perhaps it is because he makes
no obvious appeal for them; but one likes such men as Lord Warburton,
Newman, Valentin, the artistic brother in "The Europeans," and Ralph
Touchett, and such women as Isabel, Claire Belgarde, Mrs. Tristram, and
certain others, with a thoroughness that is one of the best testimonies
to their vitality.  This comes about through their own qualities, and
is not affected by insinuation or by downright petting, such as we find
in Dickens nearly always and in Thackeray too often.

The art of fiction has, in fact, become a finer art in our day than it
was with Dickens and Thackeray.  We could not suffer the confidential
attitude of the latter now, nor the mannerism of the former, any more
than we could endure the prolixity of Richardson or the coarseness of
Fielding.  These great men are of the past--they and their methods and
interests; even Trollope and Reade are not of the present.  The new
school derives from Hawthorne and George Eliot rather than any others;
but it studies human nature much more in its wonted aspects, and finds
its ethical and dramatic examples in the operation of lighter but not
really less vital motives.  The moving accident is certainly not its
trade; and it prefers to avoid all manner of dire catastrophes.  It is
largely influenced by French fiction in form; but it is the realism of
Daudet rather than the realism of Zola that prevails with it, and it
has a soul of its own which is above the business of recording the
rather brutish pursuit of a woman by a man, which seems to be the chief
end of the French novelist.  This school, which is so largely of the
future as well as the present, finds its chief exemplar in Mr. James;
it is he who is shaping and directing American fiction, at least.  It
is the ambition of the younger contributors to write like him; he has
his following more distinctly recognizable than that of any other
English-writing novelist.  Whether he will so far control this
following as to decide the nature of the novel with us remains to be
seen.  Will the reader be content to accept a novel which is an
analytic study rather than a story, which is apt to leave him arbiter
of the destiny of the author's creations?  Will he find his account in
the unflagging interest of their development?  Mr. James's growing
popularity seems to suggest that this may be the case; but the work of
Mr. James's imitators will have much to do with the final result.

In the meantime it is not surprising that he has his imitators.
Whatever exceptions we take to his methods or his results, we cannot
deny him a very great literary genius.  To me there is a perpetual
delight in his way of saying things, and I cannot wonder that younger
men try to catch the trick of it.  The disappointing thing for them is
that it is not a trick, but an inherent virtue.  His style is, upon the
whole, better than that of any other novelist I know; it is always
easy, without being trivial, and it is often stately, without being
stiff; it gives a charm to everything he writes; and he has written so
much and in such various directions, that we should be judging him very
incompletely if we considered him only as a novelist.  His book of
European sketches must rank him with the most enlightened and agreeable
travelers; and it might be fitly supplemented from his uncollected
papers with a volume of American sketches.  In his essays on modern
French writers he indicates his critical range and grasp; but he
scarcely does more, as his criticisms in "The Atlantic" and "The
Nation" and elsewhere could abundantly testify.

There are indeed those who insist that criticism is his true vocation,
and are impatient of his devotion to fiction; but I suspect that these
admirers are mistaken.  A novelists he is not, after the old fashion,
or after any fashion but his own; yet since he has finally made his
public in his own way of story-telling--or call it character-painting
if you prefer,--it must be conceded that he has chosen best for himself
and his readers in choosing the form of fiction for what he has to say.
It is, after all, what a writer has to say rather than what he has to
tell that we care for nowadays.  In one manner or other the stories
were all told long ago; and now we want merely to know what the
novelist thinks about persons and situations.  Mr. James gratifies this
philosophic desire.  If he sometimes forbears to tell us what he thinks
of the last state of his people, it is perhaps because that does not
interest him, and a large-minded criticism might well insist that it
was childish to demand that it must interest him.

I am not sure that any criticism is sufficiently large-minded for this.
I own that I like a finished story; but then also I like those which
Mr. James seems not to finish.  This is probably the position of most
of his readers, who cannot very logically account for either
preference.  We can only make sure that we have here an annalist, or
analyst, as we choose, who fascinates us from his first page to his
last, whose narrative or whose comment may enter into any minuteness of
detail without fatiguing us, and can only truly grieve us when it
ceases.









End of Project Gutenberg's Henry James, Jr., by William Dean Howells

*** END OF THIS PROJECT GUTENBERG EBOOK HENRY JAMES, JR. ***

***** This file should be named 723.txt or 723.zip *****
This and all associated files of various formats will be found in:
        https://www.gutenberg.org/7/2/723/

Produced by Anthony J. Adam.

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

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



*** START: FULL LICENSE ***

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

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


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

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

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

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

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

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

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

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.  You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.org

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

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

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

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

1.E.6.  You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form.  However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.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-tm
License as specified in paragraph 1.E.1.

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

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

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

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

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

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

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

1.F.

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

1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.

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

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

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

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


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

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

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


Section 3.  Information about the Project Gutenberg Literary Archive
Foundation

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

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

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


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

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

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

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

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

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


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

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


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


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

     https://www.gutenberg.org

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