Spoon River Anthology

Epilogue Epilogue (THE GRAVEYARD OF SPOON RIVER. TWO VOICES ARE HEARD BEHIND A SCREEN DECORATED WITH DIABOLICAL AND ANGELIC FIGURES IN VARIOUS ALLEGORICAL RELATIONS. A FAINT LIGHT SHOWS DIMLY THROUGH THE SCREEN AS IF IT WERE WOVEN OF LEAVES, BRANCHES AND SHADOWS.) FIRST VOICE. A game of checkers? SECOND VOICE Well, I don’t mind. FIRST VOICE I move the Will. SECOND VOICE You’re playing it blind. FIRST VOICE Then here’s the Soul. SECOND VOICE Checked by the Will. FIRST VOICE Eternal Good! SECOND VOICE And Eternal Ill. FIRST VOICE I haste for the King row. SECOND VOICE Save your breath. FIRST VOICE I was moving Life. SECOND VOICE You’re checked by Death. FIRST VOICE Very good, here’s Moses. SECOND VOICE And here’s the Jew. FIRST VOICE My next move is Jesus. SECOND VOICE St. Paul for you! FIRST VOICE Yes, but St. Peter— SECOND VOICE You might have foreseen— FIRST VOICE You’re in the King row— SECOND VOICE With Constantine! FIRST VOICE I’ll go back to Athens. SECOND VOICE Well, here’s the Persian. FIRST VOICE All right, the Bible. SECOND VOICE Pray now, what version? FIRST VOICE I take up Buddha. SECOND VOICE It never will work. FIRST VOICE From the corner Mahomet. SECOND VOICE I move the Turk. FIRST VOICE The game is tangled; where are we now? SECOND VOICE You’re dreaming worlds. I’m in the King row. Move as you will, if I can’t wreck you I’ll thwart you, harry you, rout you, check you. FIRST VOICE I’m tired. I’ll send for my Son to play. I think he can beat you finally— SECOND VOICE Eh? FIRST VOICE I must preside at the stars’ convention. SECOND VOICE Very well, my lord, but I beg to mention I’ll give this game my direct attention. FIRST VOICE A game indeed! But Truth is my quest. SECOND VOICE Beaten, you walk away with a jest. I strike the table, I scatter the checkers. ( A rattle of a falling table and checkers flying over a floor .) Aha! You armies and iron deckers, Races and states in a cataclysm— Now for a day of atheism! ( The screen vanishes and BEELZEBUB steps forward carrying a trumpet, which he blows faintly. Immediately LOKI and YOCARINDRA start up from the shadows of night. ) BEELZEBUB Good evening, Loki! LOKI The same to you! BEELZEBUB And Yogarindra! YOGARINDRA My greetings, too. LOKI Whence came you, comrade? BEELZEBUB From yonder screen. YOGARINDRA And what were you doing? BEELZEBUB Stirring His spleen. LOKI How did you do it? BEELZEBUB I made it rough In a game of checkers. LOKI Good enough! YOGARINDRA I thought I heard the sounds of a battle. BEELZEBUB No doubt! I made the checkers rattle, Turning the table over and strewing The bits of wood like an army pursuing. YOGARINDRA I have a game! Let us make a man. LOKI My net is waiting him, if you can. YOGARINDRA And here’s my mirror to fool him with— BEELZEBUB Mystery, falsehood, creed and myth. LOKI But no one can mold him, friend, but you. BEELZEBUB Then to the sport without more ado. YOGARINDRA Hurry the work ere it grow to day. BEELZEBUB I set me to it. Where is the clay? ( He scrapes the earth with his hands and begins to model. ) BEELZEBUB Out of the dust, Out of the slime, A little rust, And a little lime. Muscle and gristle, Mucin, stone Brayed with a pestle, Fat and bone. Out of the marshes, Out of the vaults, Matter crushes Gas and salts. What is this you call a mind, Flitting, drifting, pale and blind, Soul of the swamp that rides the wind? Jack-o’-lantern, here you are! Dream of heaven, pine for a star, Chase your brothers to and fro, Back to the swamp at last you’ll go. Hilloo! Hilloo! THE VALLEY Hilloo! Hilloo! ( Beelzebub in scraping up the earth turns out a skull. ) BEELZEBUB Old one, old one. Now ere I break you Crush you and make you Clay for my use, Let me observe you: You were a bold one Flat at the dome of you, Heavy the base of you, False to the home of you, Strong was the face of you, Strange to all fears. Yet did the hair of you Hide what you were. Now to re-nerve you— ( He crushes the skull between his hands and mixes it with the clay. ) Now you are dust, Limestone and rust. I mold and I stir And make you again. THE VALLEY Again? Again? ( In the same manner BEELZEBUB has fashioned several figures, standing them against the trees. ) LOKI Now for the breath of life. As I remember You have done right to mold your creatures first, And stand them up. BEELZEBUB From gravitation I make the will. YOGARINDRA Out of sensation Comes his ill. Out of my mirror Springs his error. Who was so cruel To make him the slave Of me the sorceress, you the knave, And you the plotter to catch his thought, Whatever he did, whatever he sought? With a nature dual Of will and mind, A thing that sees, and a thing that’s blind. Come! to our dance! Something hated him Made us over him, therefore fated him. ( They join hands and dance. ) LOKI Passion, reason, custom, ruels, Creeds of the churches, lore of the schools, Taint in the blood and strength of soul. Flesh too weak for the will’s control; Poverty, riches, pride of birth, Wailing, laughter, over the earth. Here I have you caught again. Enter my web, ye sons of men. YOGARINDRA Look in my mirror! Isn’t it real? What do you think now, what do you feel? Here is treasure of gold heaped up; Here is wine in the festal cup. Tendrils blossoming, turned to whips, Love with her breasts and scarlet lips. Breathe in their nostrils. BEELZEBUB Falsehood’s breath, Out of nothingness into death. Out of the mold, out of the rocks, Wonder, mockery, paradox! Soaring spirit, groveling flesh, Bait the trap, and spread the mesh. Give him hunger, lure him with truth, Give him the iris hopes of Youth. Starve him, shame him, fling him down, Whirled in the vortex of the town. Break him, age him, till he curse The idiot face of the universe. Over and over we mix the clay,— What was dust is alive to-day. THE THREE Thus is the hell-born tangle wound Swiftly, swiftly round and round. BEELZEBUB ( Waving his trumpet. ) You live! Away! ONE OF THE FIGURES How strange and new! I am I, and another, too. ANOTHER FIGURE I was a sun-dew’s leaf, but now What is this longing?— ANOTHER FIGURE Earth below I was a seedling magnet-tipped Drawn down earth— ANOTHER FIGURE And I was gripped Electrons in a granite stone, Now I think. ANOTHER FIGURE Oh, how alone! ANOTHER FIGURE My lips to thine. Through thee I find Something alone by love divined! BEELZEBUB Begone! No, wait. I have bethought me, friends; Let s give a play. ( He waves his trumpet. ) To yonder green rooms go. ( The figures disappear. ) YOGARINDRA Oh, yes, a play! That’s very well, I think, But who will be the audience? I must throw Illusion over all. LOKI And I must shift The scenery, and tangle up the plot. BEELZEBUB Well, so you shall! Our audience shall come From yonder graves. ( He blows his trumpet slightly louder than before. The scene changes. A stage arises among the graves. The curtain is down, concealing the creatures just created, illuminated halfway up by spectral lights. BEELZEBUB stands before the curtain. ) BEELZEBUB ( A terrific blast of the trumpet. ) Who-o-o-o-o-o! ( Immediately there is a rustling as of the shells of grasshoppers stirred by a wind; and hundreds of the dead, including those who have appeared in the Anthology, hurry to the sound of the trumpet. ) A VOICE Gabriel! Gabriel! MANY VOICES The Judgment day! BEELZEBUB Be quiet, if you please At least until the stars fall and the moon. MANY VOICES Save us! Save us! ( Beelzebub extends his hands over the audience with a benedictory motion and restores order. ) BEELZEBUB Ladies and gentlemen, your kind attention To my interpretation of the scene. I rise to give your fancy comprehension, And analyze the parts of the machine. My mood is such that I would not deceive you, Though still a liar and the father of it, From judgment’s frailty I would retrieve you, Though falsehood is my art and though I love it. Down in the habitations whence I rise, The roots of human sorrow boundless spread. Long have I watched them draw the strength that lies In clay made richer by the rotting dead. Here is a blossom, here a twisted stalk, Here fruit that sourly withers ere its prime; And here a growth that sprawls across the walk, Food for the green worm, which it turns to slime. The ruddy apple with a core of cork Springs from a root which in a hollow dangles, Not skillful husbandry nor laborious work Can save the tree which lightning breaks and tangles. Why does the bright nasturtium scarcely flower But that those insects multiply and grow, Which make it food, and in the very hour In which the veined leaves and blossoms blow? Why does a goodly tree, while fast maturing, Turn crooked branches covered o’er with scale? Why does the tree whose youth was not assuring Prosper and bear while all its fellows fail? I under earth see much. I know the soil. I know where mold is heavy and where thin. I see the stones that thwart the plowman’s toil, The crooked roots of what the priests call sin. I know all secrets, even to the core, What seedlings will be upas, pine or laurel; It cannot change howe’er the field’s worked o’er. Man’s what he is and that’s the devil’s moral. So with the souls of the ensuing drama They sprang from certain seed in certain earth. Behold them in the devil’s cyclorama, Shown in their proper light for all they’re worth. Now to my task: I’ll give an exhibition Of mixing the ingredients of spirit. ( He waves his hand. ) Come, crucible, perform your magic mission, Come, recreative fire, and hover near it! I’ll make a soul, or show how one is made. ( He waves his wand again. Parti-colored flames appear. ) This is the woman you shall see anon! ( A red flame appears. ) This hectic flame makes all the world afraid: It was a soldier’s scourge which ate the bone. His daughter bore the lady of the action. And died at thirty-nine of scrofula. She was a creature of a sweet attraction, Whose sex-obsession no one ever saw. ( A purple flame appears. ) Lo! this denotes aristocratic strains Back in the centuries of France’s glory. ( A blue flame appears. ) And this the will that pulls against the chains Her father strove until his hair was hoary. Sorrow and failure made his nature cold. He never loved the child whose woe is shown, And hence her passion for the things which gold Brings in this world of pride, and brings alone. The human heart that’s famished from its birth Turns to the grosser treasures, that is plain. Thus aspiration fallen fills the earth With jungle growths of bitterness and pain. Of Celtic, Gallic fire our heroine! Courageous, cruel, passionate and proud. False, vengeful, cunning, without fear o’ sin. A head that oft is bloody, but not bowed. Now if she meet a man—suppose our hero, With whom her chemistry shall war yet mix, As if she were her Borgia to his Nero, ’Twill look like one of Satan’s little tricks! However, it must be. The world’s great garden Is not all mine. I only sow the tares. Wheat should be made immune, or else the Warden Should stop their coming in the world’s affairs. But to our hero! Long ere he was born I knew what would repel him and attract. Such spirit mathematics, fig or thorn, I can prognosticate before the fact. ( A yellow flame appears. ) This is a grandsire’s treason in an orchard Against a maid whose nature with his mated. ( Lurid flames appear. ) And this his memory distrait and tortured, Which marked the child with hate because she hated. Our heroine’s grand dame was that maid’s own cousin— But never this our man and woman knew. The child, in time, of lovers had a dozen, Then wed a gentleman upright and true. And thus our hero had a double nature: One half of him was bad, the other good. The devil must exhaust his nomenclature To make this puzzle rightly understood. But when our hero and our heroine met They were at once attracted, the repulsion Was hidden under Passion, with her net Which must enmesh you ere you feel revulsion. The virus coursing in the soldier’s blood, The orchard’s ghost, the unknown kinship ’twixt them, Our hero’s mother’s lovers round them stood, Shadows that smiled to see how Fate had fixed them. This twain pledge vows and marry, that’s the play. And then the tragic features rise and deepen. He is a tender husband. When away The serpents from the orchard slyly creep in. Our heroine, born of spirit none too loyal, Picks fruit of knowledge—leaves the tree of life. Her fancy turns to France corrupt and royal, Soon she forgets her duty as a wife. You know the rest, so far as that’s concerned, She met exposure and her husband slew her. He lost his reason, for the love she spurned. He prized her as his own—how slight he knew her. ( He waves a wand, showing a man in a prison cell. ) Now here he sits condemned to mount the gallows— He could not tell his story—he is dumb. Love, says your poets, is a grace that hallows, I call it suffering and martyrdom. The judge with pointed finger says, “You killed her.” Well, so he did—but here’s the explanation; He could not give it. I, the drama-builder, Show you the various truths and their relation. ( He waves his wand. ) Now, to begin. The curtain is ascending, They meet at tea upon a flowery lawn. Fair, is it not? How sweet their souls are blending— The author calls the play “Laocoon.” A VOICE Only an earth dream. ANOTHER VOICE With which we are done. A flash of a comet Upon the earth stream. ANOTHER VOICE A dream twrice removed, A spectral confusion Of earth’s dread illusion. A FAR VOICE These are the ghosts From the desolate coasts. Would you go to them? Only pursue them. Whatever enshrined is Within you is you. In a place where no wind is, Out of the damps, Be ye as lamps. Flame-like aspire, To me alone true, The Life and the Fire. (BEELZEBUB, LOKI and YOGARINDRA vanish. The phantasmagoria fades out. Where the dead seemed to have assembled, only heaps of leaves appear. There is the light as of dawn. Voices of Spring. ) FIRST VOICE The springtime is come, the winter departed. She wakens from slumber and dances light-hearted. The sun is returning, We are done with alarms, Earth lifts her face burning, Held close in his arms. The sun is an eagle Who broods o’er his young, The earth is his nursling In whom he has flung The life-flame in seed, In blossom desire, Till fire become life, And life become fire. SECOND VOICE I slip and I vanish, I baffle your eye; I dive and I climb, I change and I fly. You have me, you lose me, Who have me too well, Now find me and use me— I am here in a cell. THIRD VOICE You are there in a cell? Oh, now for a rod With which to divine you— SECOND VOICE Nay, child, I am God. FOURTH VOICE When the waking waters rise from their beds of snow, under the hill, In little rooms of stone where they sleep when icicles reign, The April breezes scurry through woodlands, saying “Fulfill! Awaken roots under cover of soil—it is Spring again.” Then the sun exults, the moon is at peace, and voices Call to the silver shadows to lift the flowers from their dreams. And a longing, longing enters my heart of sorrow, my heart that rejoices In the fleeting glimpse of a shining face, and her hair that gleams. I arise and follow alone for hours the winding way by the river. Hunting a vanishing light, and a solace for joy too deep. Where do you lead me, wild one, on and on forever? Over the hill, over the hill, and down to the meadows of sleep. THE SUN Over the soundless depths of space for a hundred million miles Speeds the soul of me, silent thunder, struck from a harp of fire. Before my eyes the planets wheel and a universe defiles, I but a luminant speck of dust upborne in a vast desire. What is my universe that obeys me—myself compelled to obey A power that holds me and whirls me over a path that has no end? And there are my children who call me great, the giver of life and day, Myself a child who cry for life and know not whither I tend. A million million suns above me, as if the curtain of night Were hung before creation’s flame, that shone through the weave of the cloth, Each with its worlds and worlds and worlds crying upward for light, For each is drawn in its course to what?—as the candle draws the moth. THE MILKY WAY Orbits unending, Life never ending, Power without end. A VOICE Wouldst thou be lord, Not peace but a sword. Not heart’s desire— Ever aspire. Worship thy power, Conquer thy hour, Sleep not but strive, So shalt thou live. INFINITE DEPTHS Infinite Law, Infinite Life. *** END OF THE PROJECT GUTENBERG EBOOK SPOON RIVER ANTHOLOGY *** 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 THE FULL PROJECT GUTENBERG™ 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 41 Watchung Plaza #516, Montclair NJ 07042, USA, +1 (862) 621-9288. 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.

Related documents

• Spoon River Anthology#823058
• Further Chronicles of Avonlea#33143
• Love and tea: A comedy-drama of colonial times in two acts#62125
• The Poems of Madison Cawein, Volume 4 (of 5) Poems of mystery and of myth and romance#56989
• Chronicles of Avonlea#26554