The Gambler

XVII XVII It is a year and eight months since I last looked at these notes of mine. I do so now only because, being overwhelmed with depression, I wish to distract my mind by reading them through at random. I left them off at the point where I was just going to Homburg. My God, with what a light heart (comparatively speaking) did I write the concluding lines!—though it may be not so much with a light heart, as with a measure of self-confidence and unquenchable hope. At that time had I any doubts of myself? Yet behold me now. Scarcely a year and a half have passed, yet I am in a worse position than the meanest beggar. But what is a beggar? A fig for beggary! I have ruined myself—that is all. Nor is there anything with which I can compare myself; there is no moral which it would be of any use for you to read to me. At the present moment nothing could well be more incongruous than a moral. Oh, you self-satisfied persons who, in your unctuous pride, are forever ready to mouth your maxims—if only you knew how fully I myself comprehend the sordidness of my present state, you would not trouble to wag your tongues at me! What could you say to me that I do not already know? Well, wherein lies my difficulty? It lies in the fact that by a single turn of a roulette wheel everything for me, has become changed. Yet, had things befallen otherwise, these moralists would have been among the first (yes, I feel persuaded of it) to approach me with friendly jests and congratulations. Yes, they would never have turned from me as they are doing now! A fig for all of them! What am I? I am zero—nothing. What shall I be tomorrow? I may be risen from the dead, and have begun life anew. For still, I may discover the man in myself, if only my manhood has not become utterly shattered. I went, I say, to Homburg, but afterwards went also to Roulettenberg, as well as to Spa and Baden; in which latter place, for a time, I acted as valet to a certain rascal of a Privy Councillor, by name Heintze, who until lately was also my master here. Yes, for five months I lived my life with lacqueys! That was just after I had come out of Roulettenberg prison, where I had lain for a small debt which I owed. Out of that prison I was bailed by—by whom? By Mr. Astley? By Polina? I do not know. At all events, the debt was paid to the tune of two hundred thalers, and I sallied forth a free man. But what was I to do with myself? In my dilemma I had recourse to this Heintze, who was a young scapegrace, and the sort of man who could speak and write three languages. At first I acted as his secretary, at a salary of thirty gülden a month, but afterwards I became his lacquey, for the reason that he could not afford to keep a secretary—only an unpaid servant. I had nothing else to turn to, so I remained with him, and allowed myself to become his flunkey. But by stinting myself in meat and drink I saved, during my five months of service, some seventy gülden; and one evening, when we were at Baden, I told him that I wished to resign my post, and then hastened to betake myself to roulette. Oh, how my heart beat as I did so! No, it was not the money that I valued—what I wanted was to make all this mob of Heintzes, hotel proprietors, and fine ladies of Baden talk about me, recount my story, wonder at me, extol my doings, and worship my winnings. True, these were childish fancies and aspirations, but who knows but that I might meet Polina, and be able to tell her everything, and see her look of surprise at the fact that I had overcome so many adverse strokes of fortune. No, I had no desire for money for its own sake, for I was perfectly well aware that I should only squander it upon some new Blanche, and spend another three weeks in Paris after buying a pair of horses which had cost sixteen thousand francs. No, I never believed myself to be a hoarder; in fact, I knew only too well that I was a spendthrift. And already, with a sort of fear, a sort of sinking in my heart, I could hear the cries of the croupiers—“Trente et un, rouge, impair et passe,” “Quarte, noir, pair et manque.” How greedily I gazed upon the gaming-table, with its scattered louis d’or, ten-gülden pieces, and thalers; upon the streams of gold as they issued from the croupier’s hands, and piled themselves up into heaps of gold scintillating as fire; upon the ell—long rolls of silver lying around the croupier. Even at a distance of two rooms I could hear the chink of that money—so much so that I nearly fell into convulsions. Ah, the evening when I took those seventy gülden to the gaming table was a memorable one for me. I began by staking ten gülden upon passe. For passe I had always had a sort of predilection, yet I lost my stake upon it. This left me with sixty gülden in silver. After a moment’s thought I selected zero—beginning by staking five gülden at a time. Twice I lost, but the third round suddenly brought up the desired coup. I could almost have died with joy as I received my one hundred and seventy-five gülden. Indeed, I have been less pleased when, in former times, I have won a hundred thousand gülden. Losing no time, I staked another hundred gülden upon the red, and won; two hundred upon the red, and won; four hundred upon the black, and won; eight hundred upon manque, and won. Thus, with the addition of the remainder of my original capital, I found myself possessed, within five minutes, of seventeen hundred gülden. Ah, at such moments one forgets both oneself and one’s former failures! This I had gained by risking my very life. I had dared so to risk, and behold, again I was a member of mankind! I went and hired a room, I shut myself up in it, and sat counting my money until three o’clock in the morning. To think that when I awoke on the morrow, I was no lacquey! I decided to leave at once for Homburg. There I should neither have to serve as a footman nor to lie in prison. Half an hour before starting, I went and ventured a couple of stakes—no more; with the result that, in all, I lost fifteen hundred florins. Nevertheless, I proceeded to Homburg, and have now been there for a month. Of course, I am living in constant trepidation, playing for the smallest of stakes, and always looking out for something—calculating, standing whole days by the gaming-tables to watch the play—even seeing that play in my dreams—yet seeming, the while, to be in some way stiffening, to be growing caked, as it were, in mire. But I must conclude my notes, which I finish under the impression of a recent encounter with Mr. Astley. I had not seen him since we parted at Roulettenberg, and now we met quite by accident. At the time I was walking in the public gardens, and meditating upon the fact that not only had I still some fifty gülden in my possession, but also I had fully paid up my hotel bill three days ago. Consequently, I was in a position to try my luck again at roulette; and if I won anything I should be able to continue my play, whereas, if I lost what I now possessed, I should once more have to accept a lacquey’s place, provided that, in the alternative, I failed to discover a Russian family which stood in need of a tutor. Plunged in these reflections, I started on my daily walk through the Park and forest towards a neighbouring principality. Sometimes, on such occasions, I spent four hours on the way, and would return to Homburg tired and hungry; but, on this particular occasion, I had scarcely left the gardens for the Park when I caught sight of Astley seated on a bench. As soon as he perceived me, he called me by name, and I went and sat down beside him; but, on noticing that he seemed a little stiff in his manner, I hastened to moderate the expression of joy which the sight of him had called forth. “ You here?” he said. “Well, I had an idea that I should meet you. Do not trouble to tell me anything, for I know all—yes, all. In fact, your whole life during the past twenty months lies within my knowledge.” “How closely you watch the doings of your old friends!” I replied. “That does you infinite credit. But stop a moment. You have reminded me of something. Was it you who bailed me out of Roulettenberg prison when I was lying there for a debt of two hundred gülden? someone did so.” “Oh dear no!—though I knew all the time that you were lying there.” “Perhaps you could tell me who did bail me out?” “No; I am afraid I could not.” “What a strange thing! For I know no Russians at all here, so it cannot have been a Russian who befriended me. In Russia we Orthodox folk do go bail for one another, but in this case I thought it must have been done by some English stranger who was not conversant with the ways of the country.” Mr. Astley seemed to listen to me with a sort of surprise. Evidently he had expected to see me looking more crushed and broken than I was. “Well,” he said—not very pleasantly, “I am none the less glad to find that you retain your old independence of spirit, as well as your buoyancy.” “Which means that you are vexed at not having found me more abased and humiliated than I am?” I retorted with a smile. Astley was not quick to understand this, but presently did so and laughed. “Your remarks please me as they always did,” he continued. “In those words I see the clever, triumphant, and, above all things, cynical friend of former days. Only Russians have the faculty of combining within themselves so many opposite qualities. Yes, most men love to see their best friend in abasement; for generally it is on such abasement that friendship is founded. All thinking persons know that ancient truth. Yet, on the present occasion, I assure you, I am sincerely glad to see that you are not cast down. Tell me, are you never going to give up gambling?” “Damn the gambling! Yes, I should certainly have given it up, were it not that—” “That you are losing? I thought so. You need not tell me any more. I know how things stand, for you have said that last in despair, and therefore, truthfully. Have you no other employment than gambling?” “No; none whatever.” Astley gave me a searching glance. At that time it was ages since I had last looked at a paper or turned the pages of a book. “You are growing blasé,” he said. “You have not only renounced life, with its interests and social ties, but the duties of a citizen and a man; you have not only renounced the friends whom I know you to have had, and every aim in life but that of winning money; but you have also renounced your memory. Though I can remember you in the strong, ardent period of your life, I feel persuaded that you have now forgotten every better feeling of that period—that your present dreams and aspirations of subsistence do not rise above pair, impair rouge, noir, the twelve middle numbers, and so forth.” “Enough, Mr. Astley!” I cried with some irritation—almost in anger. “Kindly do not recall to me any more recollections, for I can remember things for myself. Only for a time have I put them out of my head. Only until I shall have rehabilitated myself, am I keeping my memory dulled. When that hour shall come, you will see me arise from the dead.” “Then you will have to be here another ten years,” he replied. “Should I then be alive, I will remind you—here, on this very bench—of what I have just said. In fact, I will bet you a wager that I shall do so.” “Say no more,” I interrupted impatiently. “And to show you that I have not wholly forgotten the past, may I enquire where Mlle. Polina is? If it was not you who bailed me out of prison, it must have been she. Yet never have I heard a word concerning her.” “No, I do not think it was she. At the present moment she is in Switzerland, and you will do me a favour by ceasing to ask me these questions about her.” Astley said this with a firm, and even an angry, air. “Which means that she has dealt you a serious wound?” I burst out with an involuntary sneer. “Mlle. Polina,” he continued, “Is the best of all possible living beings; but, I repeat, that I shall thank you to cease questioning me about her. You never really knew her, and her name on your lips is an offence to my moral feeling.” “Indeed? On what subject, then, have I a better right to speak to you than on this? With it are bound up all your recollections and mine. However, do not be alarmed: I have no wish to probe too far into your private, your secret affairs. My interest in Mlle. Polina does not extend beyond her outward circumstances and surroundings. About them you could tell me in two words.” “Well, on condition that the matter shall end there, I will tell you that for a long time Mlle. Polina was ill, and still is so. My mother and sister entertained her for a while at their home in the north of England, and thereafter Mlle. Polina’s grandmother (you remember the mad old woman?) died, and left Mlle. Polina a personal legacy of seven thousand pounds sterling. That was about six months ago, and now Mlle. is travelling with my sister’s family—my sister having since married. Mlle.’s little brother and sister also benefited by the Grandmother’s will, and are now being educated in London. As for the General, he died in Paris last month, of a stroke. Mlle. Blanche did well by him, for she succeeded in having transferred to herself all that he received from the Grandmother. That, I think, concludes all that I have to tell.” “And De Griers? Is he too travelling in Switzerland?” “No; nor do I know where he is. Also I warn you once more that you had better avoid such hints and ignoble suppositions; otherwise you will assuredly have to reckon with me.” “What? In spite of our old friendship?” “Yes, in spite of our old friendship.” “Then I beg your pardon a thousand times, Mr. Astley. I meant nothing offensive to Mlle. Polina, for I have nothing of which to accuse her. Moreover, the question of there being anything between this Frenchman and this Russian lady is not one which you and I need discuss, nor even attempt to understand.” “If,” replied Astley, “you do not care to hear their names coupled together, may I ask you what you mean by the expressions ‘this Frenchman,’ ‘this Russian lady,’ and ‘there being anything between them’? Why do you call them so particularly a ‘Frenchman’ and a ‘Russian lady’?” “Ah, I see you are interested, Mr. Astley. But it is a long, long story, and calls for a lengthy preface. At the same time, the question is an important one, however ridiculous it may seem at the first glance. A Frenchman, Mr. Astley, is merely a fine figure of a man. With this you, as a Britisher, may not agree. With it I also, as a Russian, may not agree—out of envy. Yet possibly our good ladies are of another opinion. For instance, one may look upon Racine as a broken-down, hobbledehoy, perfumed individual—one may even be unable to read him; and I too may think him the same, as well as, in some respects, a subject for ridicule. Yet about him, Mr. Astley, there is a certain charm, and, above all things, he is a great poet—though one might like to deny it. Yes, the Frenchman, the Parisian, as a national figure, was in process of developing into a figure of elegance before we Russians had even ceased to be bears. The Revolution bequeathed to the French nobility its heritage, and now every whipper-snapper of a Parisian may possess manners, methods of expression, and even thoughts that are above reproach in form, while all the time he himself may share in that form neither in initiative nor in intellect nor in soul—his manners, and the rest, having come to him through inheritance. Yes, taken by himself, the Frenchman is frequently a fool of fools and a villain of villains. Per contra, there is no one in the world more worthy of confidence and respect than this young Russian lady. De Griers might so mask his face and play a part as easily to overcome her heart, for he has an imposing figure, Mr. Astley, and this young lady might easily take that figure for his real self—for the natural form of his heart and soul—instead of the mere cloak with which heredity has dowered him. And even though it may offend you, I feel bound to say that the majority also of English people are uncouth and unrefined, whereas we Russian folk can recognise beauty wherever we see it, and are always eager to cultivate the same. But to distinguish beauty of soul and personal originality there is needed far more independence and freedom than is possessed by our women, especially by our younger ladies. At all events, they need more experience . For instance, this Mlle. Polina—pardon me, but the name has passed my lips, and I cannot well recall it—is taking a very long time to make up her mind to prefer you to Monsieur de Griers. She may respect you, she may become your friend, she may open out her heart to you; yet over that heart there will be reigning that loathsome villain, that mean and petty usurer, De Griers. This will be due to obstinacy and self-love—to the fact that De Griers once appeared to her in the transfigured guise of a marquis, of a disenchanted and ruined liberal who was doing his best to help her family and the frivolous old General; and, although these transactions of his have since been exposed, you will find that the exposure has made no impression upon her mind. Only give her the De Griers of former days, and she will ask of you no more. The more she may detest the present De Griers, the more will she lament the De Griers of the past—even though the latter never existed but in her own imagination. You are a sugar refiner, Mr. Astley, are you not?” “Yes, I belong to the well-known firm of Lovell and Co.” “Then see here. On the one hand, you are a sugar refiner, while, on the other hand, you are an Apollo Belvedere. But the two characters do not mix with one another. I, again, am not even a sugar refiner; I am a mere roulette gambler who has also served as a lacquey. Of this fact Mlle. Polina is probably well aware, since she appears to have an excellent force of police at her disposal.” “You are saying this because you are feeling bitter,” said Astley with cold indifference. “Yet there is not the least originality in your words.” “I agree. But therein lies the horror of it all—that, how trepidation, playing ever mean and farcical my accusations may be, they are none the less true . But I am only wasting words.” “Yes, you are, for you are only talking nonsense!” exclaimed my companion—his voice now trembling and his eyes flashing fire. “Are you aware,” he continued, “that wretched, ignoble, petty, unfortunate man though you are, it was at her request I came to Homburg, in order to see you, and to have a long, serious talk with you, and to report to her your feelings and thoughts and hopes—yes, and your recollections of her, too?” “Indeed? Is that really so?” I cried—the tears beginning to well from my eyes. Never before had this happened. “Yes, poor unfortunate,” continued Astley. “She did love you; and I may tell you this now for the reason that now you are utterly lost. Even if I were also to tell you that she still loves you, you would none the less have to remain where you are. Yes, you have ruined yourself beyond redemption. Once upon a time you had a certain amount of talent, and you were of a lively disposition, and your good looks were not to be despised. You might even have been useful to your country, which needs men like you. Yet you remained here, and your life is now over. I am not blaming you for this—in my view all Russians resemble you, or are inclined to do so. If it is not roulette, then it is something else. The exceptions are very rare. Nor are you the first to learn what a taskmaster is yours. For roulette is not exclusively a Russian game. Hitherto, you have honourably preferred to serve as a lacquey rather than to act as a thief; but what the future may have in store for you I tremble to think. Now good-bye. You are in want of money, I suppose? Then take these ten louis d’or. More I shall not give you, for you would only gamble it away. Take care of these coins, and farewell. Once more, take care of them.” “No, Mr. Astley. After all that has been said I—” “ Take care of them!” repeated my friend. “I am certain you are still a gentleman, and therefore I give you the money as one gentleman may give money to another. Also, if I could be certain that you would leave both Homburg and the gaming-tables, and return to your own country, I would give you a thousand pounds down to start life afresh; but, I give you ten louis d’or instead of a thousand pounds for the reason that at the present time a thousand pounds and ten louis d’or will be all the same to you—you will lose the one as readily as you will the other. Take the money, therefore, and good-bye.” “Yes, I will take it if at the same time you will embrace me.” “With pleasure.” So we parted—on terms of sincere affection. But he was wrong. If I was hard and undiscerning as regards Polina and De Griers, he was hard and undiscerning as regards Russian people generally. Of myself I say nothing. Yet—yet words are only words. I need to act . Above all things I need to think of Switzerland. Tomorrow, tomorrow—Ah, but if only I could set things right tomorrow, and be born again, and rise again from the dead! But no—I cannot. Yet I must show her what I can do. Even if she should do no more than learn that I can still play the man, it would be worth it. Today it is too late, but tomorrow . Yet I have a presentiment that things can never be otherwise. I have got fifteen louis d’or in my possession, although I began with fifteen gülden. If I were to play carefully at the start—But no, no! Surely I am not such a fool as that? Yet why should I not rise from the dead? I should require at first but to go cautiously and patiently and the rest would follow. I should require but to put a check upon my nature for one hour, and my fortunes would be changed entirely. Yes, my nature is my weak point. I have only to remember what happened to me some months ago at Roulettenberg, before my final ruin. What a notable instance that was of my capacity for resolution! On the occasion in question I had lost everything—everything; yet, just as I was leaving the Casino, I heard another gülden give a rattle in my pocket! “Perhaps I shall need it for a meal,” I thought to myself; but a hundred paces further on, I changed my mind, and returned. That gülden I staked upon manque—and there is something in the feeling that, though one is alone, and in a foreign land, and far from one’s own home and friends, and ignorant of whence one’s next meal is to come, one is nevertheless staking one’s very last coin! Well, I won the stake, and in twenty minutes had left the Casino with a hundred and seventy gülden in my pocket! That is a fact, and it shows what a last remaining gülden can do.... But what if my heart had failed me, or I had shrunk from making up my mind? ... No; tomorrow all shall be ended! *** END OF THE PROJECT GUTENBERG EBOOK THE GAMBLER *** 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

• The gamblers#63446
• Betelguese#45152
• The Rhymer#56592
• The Village Coquette; Or, The Supposed Lottery#34821
• The Betrothed#34045