CHAPTER XL. CONCLUSION CHAPTER XL. CONCLUSION We must now return to Dunmore, and say a few parting words of the Kellys and Anty Lynch; and then our task will be finished. It will be remembered that that demon of Dunmore, Barry Lynch, has been made to vanish: like Lord Kilcullen, he has gone abroad; he has settled himself at an hotel at Boulogne, and is determined to enjoy himself. Arrangements have been made about the property, certainly not very satisfactory to Barry, because they are such as make it necessary for him to pay his own debts; but they still leave him sufficient to allow of his indulging in every vice congenial to his taste; and, if he doesn’t get fleeced by cleverer rogues than himself—which, however, will probably be the case—he will have quite enough to last him till he has drunk himself to death. After his departure, there was nothing to delay Anty’s marriage, but her own rather slow recovery. She has no other relatives to ask, no other friends to consult. Now that Barry was gone she was entirely her own mistress, and was quite willing to give up her dominion over herself to Martin Kelly. She had, however, been greatly shaken; not by illness only, but by fear also—her fears of Barry and for Barry. She still dreamed while asleep, and thought while awake, of that horrid night when he crept up to her room and swore that he would murder her. This, and what she had suffered since, had greatly weakened her, and it was some time before Doctor Colligan would pronounce her convalescent. At last, however, the difficulties were overcome; all arrangements were completed. Anty was well; the property was settled; Martin was impatient; and the day was fixed. There was no bishop, no duchess, no man-cook, at the wedding-party given on the occasion by Mrs Kelly; nevertheless, it was, in its way, quite as grand an affair as that given by the countess. The widow opened her heart, and opened her house. Her great enemy, Barry Lynch, was gone—clean beaten out of the field—thoroughly vanquished; as far as Ireland was concerned, annihilated; and therefore, any one else in the three counties was welcome to share her hospitality. Oh, the excess of delight the widow experienced in speaking of Barry to one of her gossips, as the “poor misfortunate crature!” Daly, the attorney, was especially invited, and he came. Moylan also was asked, but he stayed away. Doctor Colligan was there, in great feather; had it not been for him, there would probably have been no wedding at all. It would have been a great thing if Lord Ballindine could have been got to grace the party, though only for ten minutes; but he was at that time in Switzerland with his own bride, so he could not possibly do so. “Well, ma’am,” said Mrs Costelloe, the grocer’s wife, from Tuam, an old friend of the widow, who had got into a corner with her to have a little chat, and drink half-a-pint of porter before the ceremony,—“and I’m shure I wish you joy of the marriage. Faux, I’m tould it’s nigh to five hundred a-year, Miss Anty has, may God bless and incrase it! Well, Martin has his own luck; but he desarves it, he desarves it.” “I don’t know so much about luck thin, Mrs Costelloe,” said the widow, who still professed to think that her son gave quite as much as he got, in marrying Anty Lynch; “I don’t know so much about luck: Martin was very well as he was; his poor father didn’t lave him that way that he need be looking to a wife for mains, the Lord be praised.” “And that’s thrue, too, Mrs Kelly,” said the other; “but Miss Anty’s fortune ain’t a bad step to a young man, neither. Why, there won’t be a young gintleman within tin—no, not within forty miles, more respectable than Martin Kelly; that is, regarding mains.” “And you needn’t stop there, Ma’am, neither; you may say the very same regarding characther, too—and family, too, glory be to the Virgin. I’d like to know where some of their ancesthers wor, when the Kellys of ould wor ruling the whole counthry?” “Thrue for you, my dear; I’d like to know, indeed: there’s nothing, afther all, like blood, and a good characther. But is it thrue, Mrs Kelly, that Martin will live up in the big house yonder?” “Where should a man live thin, Mrs Costelloe, when he gets married, but jist in his own house? Why for should he not live there?” “That’s thrue agin, to be shure: but yet, only to think—Martin living in ould Sim Lynch’s big house! I wondther what ould Sim would say, hisself, av he could only come back and see it!” “I’ll tell you what he’d say thin, av he tould the thruth; he’d say there was an honest man living there, which wor niver the case as long as any of his own breed was in it—barring Anty, I main; she’s honest and thrue, the Lord be good to her, the poor thing. But the porter’s not to your liking, Mrs Costelloe—you’re not tasting it at all this morning.” No one could have been more humble and meek than was Anty herself, in the midst of her happiness. She had no idea of taking on herself the airs of a fine lady, or the importance of an heiress; she had no wish to be thought a lady; she had no wish for other friends than those of her husband, and his family. She had never heard of her brother’s last horrible proposal to Doctor Colligan, and of the manner in which his consent to her marriage had been obtained; nor did Martin intend that she should hear it. She had merely been told that her brother had found that it was for his advantage to leave the neighbourhood altogether; that he had given up all claim to the house; and that his income was to be sent to him by a person appointed in the neighbourhood to receive it. Anty, however, before signing her own settlement, was particularly careful that nothing should be done, injurious to her brother’s interest, and that no unfair advantage should be taken of his absence. Martin, too, was quiet enough on the occasion. It was arranged that he and his wife, and at any rate one of his sisters, should live at Dunmore House; and that he should keep in his own hands the farm near Dunmore, which old Sim had held, as well as his own farm at Toneroe. But, to tell the truth, Martin felt rather ashamed of his grandeur. He would much have preferred building a nice snug little house of his own, on the land he held under Lord Ballindine; but he was told that he would be a fool to build a house on another man’s ground, when he had a very good one ready built on his own. He gave way to such good advice, but he did not feel at all happy at the idea; and, when going up to the house, always felt an inclination to shirk in at the back-way. But, though neither the widow nor Martin triumphed aloud at their worldly prosperity, the two girls made up for their quiescence. They were full of nothing else; their brother’s fine house—Anty’s great fortune; their wealth, prosperity, and future station and happiness, gave them subjects of delightful conversation among their friends. Meg, moreover, boasted that it was all her own doing; that it was she who had made up the match; that Martin would never have thought of it but for her,—nor Anty either, for the matter of that. “And will your mother be staying down at the shop always, the same as iver?” said Matilda Nolan, the daughter of the innkeeper at Tuam. “’Deed she says so, then,” said Jane, in a tone of disappointment; for her mother’s pertinacity in adhering to the counter was, at present, the one misery of her life. “And which of you will be staying here along with her, dears?” said Matilda. “She’ll be wanting one of you to be with her, any ways.” “Oh, turn about, I suppose,” said Jane. “She’ll not get much of my company, any way,” said Meg. “I’ve had enough of the nasty place, and now Martin has a dacent house to put over our heads, and mainly through my mains I may say, I don’t see why I’m to be mewing myself up in such a hole as this. There’s room for her up in Dunmore House, and wilcome, too; let her come up there. Av she mains to demain herself by sticking down here, she may stay by herself for me.” “But you’ll take your turn, Meg?” said Jane. “It’ll be a very little turn, then,” said Meg; “I’m sick of the nasty ould place; fancy coming down here, Matilda, to the tobacco and sugar, after living up there a month or so, with everything nice and comfortable! And it’s only mother’s whims, for she don’t want the shop. Anty begged and prayed of her for to come and live at Dunmore House for good and all; but no; she says she’ll never live in any one’s house that isn’t her own.” “I’m not so, any way,” said Jane; “I’d be glad enough to live in another person’s house av I liked it.” “I’ll go bail you would, my dear,” said Matilda; “willing enough—especially John Dolan’s.” “Oh! av I iver live in that it’ll be partly my own, you know; and may-be a girl might do worse.” “That’s thrue, dear,” said Matilda; “but John Dolan’s not so soft as to take any girl just as she stands. What does your mother say about the money part of the business?” And so the two friends put their heads together, to arrange another wedding, if possible. Martin and Anty did not go to visit Switzerland, or Rome, as soon as they were married; but they took a bathing-lodge at Renvill, near Galway, and with much difficulty, persuaded Mrs Kelly to allow both her daughters to accompany them. And very merry they all were. Anty soon became a different creature from what she ever had been: she learned to be happy and gay; to laugh and enjoy the sunshine of the world. She had always been kind to others, and now she had round her those who were kind and affectionate to her. Her manner of life was completely changed: indeed, life itself was an altered thing to her. It was so new to her to have friends; to be loved; to be one of a family who regarded and looked up to her. She hardly knew herself in her new happiness. They returned to Dunmore in the early autumn, and took up their residence at Sim Lynch’s big house, as had been arranged. Martin was very shy about it: it was long before he talked about it as his house, or his ground, or his farm; and it was long before he could find himself quite at home in his own parlour. Many attempts were made to induce the widow to give up the inn, and shift her quarters to the big house, but in vain. She declared that, ould as she was, she wouldn’t think of making herself throublesome to young folks; who, may-be, afther a bit, would a dail sooner have her room than her company: that she had always been misthress, and mostly masther too, in her own house, glory be to God; and that she meant to be so still; and that, poor as the place was, she meant to call it her own. She didn’t think herself at all fit company for people who lived in grand houses, and had their own demesnes, and gardens, and the rest of it; she had always lived where money was to be made, and she didn’t see the sense of going, in her old age, to a place where the only work would be how to spend it. Some folks would find it was a dail asier to scatther it than it wor to put it together. All this she said and a great deal more, which had her character not been known, would have led people to believe that her son was a spendthrift, and that he and Anty were commencing life in an expensive way, and without means. But then, the widow Kelly was known, and her speeches were only taken at their value. She so far relaxed, however, that she spent every Sunday at the house; on which occasions she invariably dressed herself with all the grandeur she was able to display, and passed the whole afternoon sitting on a sofa, with her hands before her, trying to look as became a lady enjoying herself in a fine drawing-room. Her Sundays were certainly not the comfort to her, which they had been when spent at the inn; but they made her enjoy, with a keener relish, the feeling of perfect sovereignty when she returned to her own domains. I have nothing further to tell of Mr and Mrs Kelly. I believe Doctor Colligan has been once called in on an interesting occasion, if not twice; so it is likely that Dunmore House will not be left without an heir. I have also learned, on inquiry, that Margaret and Jane Kelly have both arranged their own affairs to their own satisfaction. Footnotes Footnote 1 : The historical events described here form a backdrop to the novel. Daniel O’Connell (1775-1847) came from a wealthy Irish Catholic family. He was educated in the law, which he practiced most successfully, and developed a passion for religious and political liberty. In 1823, together with Lalor Sheil and Thomas Wyse, he organized the Catholic Association, whose major goal was Catholic emancipation. This was achieved by act of parliament the following year. O’Connell served in parliament in the 1830’s and was active in the passage of bills emancipating the Jews and outlawing slavery. In 1840 he formed the Repeal Association, whose goal was repeal of the 1800 Act of Union which joined Ireland to Great Britain. In 1842, after serving a year as Lord Mayor of Dublin, O’Connell challenged the British government by announcing that he intended to achieve repeal within a year. Though he openly opposed violence, Prime Minister Peel’s government considered him a threat and arrested O’Connell and his associates in 1843 on trumped-up charges of conspiracy, sedition, and unlawful assembly. They were tried in 1844, and all but one were convicted, although the conviction was later overturned in the House of Lords. O’Connell did serve some time in jail and was considered a martyr to the cause of Irish independence. (return) Footnote 2 : The Irish often referred to Daniel O’Connell as “the liberator.” (return) Footnote 3 : enfranchisement —being set free. This is a political observation by Trollope. (return) Footnote 4 : traversers —Trollope repeatedly refers to the defendants as “traversers.” The term probably comes from the legal term “to traverse,” which is to deny the charges against one in a common law proceeding. Thus, the traversers would have been those who pled innocent. (return) Footnote 5 : sang froid —(French) coolness in a trying situation, lack of excitability (return) Footnote 6 : The Four Courts was a landmark courthouse in Dublin named for the four divisions of the Irish judicial system: Common Pleas, Chancery, Exchequer, and King’s Bench. (return) Footnote 7 : Conciliation Hall, Dublin, was built in 1843 as a meeting place for O’Connell’s Repeal Association. (return) Footnote 8 : gauger —a British revenue officer often engaged in the collection of duties on distilled spirits. (return) Footnote 9 : ci-devant —(French) former, previous (return) Footnote 10 : gale —rent payment. Gale day was the day on which rent was due. (return) Footnote 11 : shebeen-houses —unlicensed drinking houses, where un-taxed (“moonshine”) liquor was often served (return) Footnote 12 : alanna —my child (return) Footnote 13 : bosthoon —a worthless fellow (return) Footnote 14 : pis aller —(French) last resort (return) Footnote 15 : Of course it will be remembered that this was written before railways in Ireland had been constructed. (original footnote by Trollope) (return) Footnote 16 : vis inertiæ —(Latin) the power of inertia (return) Footnote 17 : Macbeth , Act I, Sc. 3 “Come what come may, Time and the hour runs through the roughest day.” (return) Footnote 18 : dura ilia messorum —(Latin) the strong intestines of reapers—a quotation from Horace’s Epodes III . Trollope was an accomplished Latin scholar and later wrote a Life of Cicero . His books are full of quotations from many Roman writers. (return) Footnote 19 : collops —portions of food or slices of meat (return) Footnote 20 : The text says “Tuam,” but the destination is really Dunmore. (return) Footnote 21 : potheen —illegal (untaxed) whiskey, “moonshine” (return) Footnote 22 : première jeunesse —(French) prime of youth (return) Footnote 23 : retroussé —(French) turned-up (return) Footnote 24 : post obit —a loan that need not be repaid until the death of a specified individual, usually someone from whom the borrower expected to inherit enough to repay the loan (return) Footnote 25 : lady-day —Annunciation Day, March 25 (return) Footnote 26 : A tapis was a small cloth or tapestry sometimes used to cover a table; hence the expression “on the tapis” meant “on the table” or “under consideration.” (return) Footnote 27 : malgré —(French) in spite of; notwithstanding (return) Footnote 28 : bon gré —(French) with the consent of (return) Footnote 29 : Rosalind’s recipe —In As You Like It , Act III, Sc. ii, Rosalind, disguised as a young man, instructs Orlando to practice his wooing on her. (return) Footnote 30 : haporth —half-penny’s worth (return) Footnote 31 : bill discounted —A common way for young men to borrow money in nineteenth century Britain was to sign a promissory note (an “I.O.U.”), often called a “bill,” to repay the loan at a specified time. The lender gave the borrower less than the face value of the note (that is, he “discounted” the note), the difference being the interest. Sometimes these notes were co-signed by a third party, who became responsible for repaying the loan if the borrower defaulted; this is one of the major themes in Trollope’s later book Framley Parsonage . Trollope himself was quite familiar with methods of borrowing, having gotten into debt in his youth. (return) Footnote 32 : amende honorable —(French) apology (return) Footnote 33 : jobation —a tedious session; scolding (return) Footnote 34 : cousin-german —first cousin (return) Footnote 35 : meering —a well-marked boundary, such as a ditch or fence, between farms, fields, bogs, etc (return) Footnote 36 : whipper —an officer of the hunt whose duty was to help the huntsman control the hounds (return) Footnote 37 : cap-a-pie —from head to foot (return) Footnote 38 : squireen —diminutive of squire; a minor Irish gentleman given to “putting on airs” or imitating the manners and haughtiness of men of greater wealth (return) Footnote 39 : congé —(French) dismissal, notice to quit (return) Footnote 40 : en déshabille —(French) partly or scantily dressed (return) Footnote 41 : gallipots —A gallipot was a small ceramic vessel used by apothecaries to hold medicines. The term was also used colloquially to refer to apothecaries themselves and even physicians (Trollope so uses the term in later chapters). (return) Footnote 42 : cottier —an Irish tenant renting land directly from the owner, with the price determined by bidding (return) Footnote 43 : triste —(French) sad, mournful, dull, dreary (return) Footnote 44 : mumchance —silent and idle (return) Footnote 45 : Amadis . . . du Guesclin —mediaeval heroes. Amadis de Gaul was the title hero of a 14th century romantic novel, probably first written in Spanish, which was popular throughout Europe. Bertrand du Guesclin was a historical figure, a fourteenth century French soldier and Marshall of France. (return) Footnote 46 : Puseyite —a follower of Edward Pusey (1800-1882), one of three scholars at Oxford who started a movement critical of the Church of England. One of the three, John Henry Newman, converted to Catholicism, and Pusey and his followers were accused of advocating Catholic practices. (return) Footnote 47 : Lavater —Johann Kaspar Lavater (1741-1801), Swiss writer whose only widely read book was a tract on physiognomy (Physiognomische Fragmente zur Beförderung der Menschenkenntnis und Menschenliebe). The Victorians put much stock in physiognomy. (return) Footnote 48 : ne exeat —(Latin) “let him not leave”; a legal writ forbidding a person to leave the jurisdiction of the court (return) Footnote 49 : stiver —a Dutch coin worth almost nothing (return) Footnote 50 : Roman father —Lucius Junius Brutus, legendary founder of the Roman republic, was said to have passed sentence of death on his two sons for participating in a rebellion. (return) Footnote 51 : Veni; Vidi; Vici —(Latin) Julius Caesar’s terse message to the Senate announcing his victory over King Pharnaces II of Pontus in 47 B.C.: “I came, I saw, I conquered.” (return) Footnote 52 : Orangeman —a member of the Orange Order, a militant Irish protestant organization founded in 1746 and named after William of Orange, who in 1688 deposed his father-in-law, Catholic King James II, became King William III, and helped establish protestant faith as a prerequisite for succession to the English throne. The Orange Order is still exists and remains rabidly anti-Catholic. (return) Footnote 53 : Anathema Maranatha —an extreme form of excommunication from the Catholic church formulated by the Fathers of the Fourth Council of Toledo. The person so excommunicated is also condemned to damnation at the second coming. (return) *** END OF THE PROJECT GUTENBERG EBOOK THE KELLYS AND THE O'KELLYS *** 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.