Malcolm

CHAPTER LXX. END OR BEGINNING? CHAPTER LXX. END OR BEGINNING? When the fit was over, and he found Mr Graham was gone, he asked Malcolm, who had resumed his watch, how long it would take Lady Florimel to come from Edinburgh. “Mr Crathie left wi’ fower horses frae the Lossie Airms last nicht, my lord,” said Malcolm; “but the ro’ds are ill, an’ she winna be here afore sometime the morn.” The marquis stared aghast: they had sent for her without his orders. “What shall I do?” he murmured. “If once I look in her eyes, I shall be damned.—Malcolm!” “Yes, my lord!” “Is there a lawyer in Portlossie?” “Yes, my lord; there’s auld Maister Carmichael.” “He won’t do! He was my brother’s rascal. Is there no one besides?” “No in Portlossie, my lord. There can be nane nearer than Duff Harbour, I doobt.” “Take the chariot and bring him here directly. Tell them to put four horses to. Stokes can ride one.” “I’ll ride the ither, my lord.” “You’ll do nothing of the kind: you’re not used to the pole.” “I can tak the leader, my lord.” “I tell you you’re to do nothing of the kind!” cried the marquis angrily. “You’re to ride inside, and bring Mr—what’s his name?— back with you.” “Soutar, my lord, gien ye please.” “Be off, then. Don’t wait to feed. The brutes have been eating all day, and they can eat all night. You must have him here in an hour.” In an hour and a quarter, Miss Horn’s friend stood by the marquis’s bedside. Malcolm was dismissed, but was presently summoned again to receive more orders. Fresh horses were put to the chariot, and he had to set out once more—this time to fetch a justice of the peace, a neighbour laird. The distance was greater than to Duff Harbour; the roads were worse; the north wind, rising as they went, blew against them as they returned, increasing to a violent gale; and it was late before they reached Lossie House. When Malcolm entered, he found the marquis alone. “Is Morrison here at last?” he cried in a feeble, irritated voice. “Yes, my lord.” “What the devil kept you so long? The bay mare would have carried me there and back in an hour and a half.” “The roads war verra heavy, my lord. An’ jist hear till the win’!” The marquis listened a moment, and a frightened expression grew over his thin, pale, anxious face. “You don’t know what depends on it,” he said, “or you would have driven better. Where is Mr Soutar?” “I dinna ken, my lord. I’m only jist come, an’ I’ve seen naebody.” “Go and tell Mrs Courthope I want Soutar. You’ll find her crying somewhere—the old chicken!—because I swore at her. What harm could that do the old goose?” “It’ll be mair for love o’ yer lordship than fricht at the sweirin’, my lord.” “You think so? Why should she care? Go and tell her I’m sorry. But really she ought to be used to me by this time! Tell her to send Soutar directly.” Mr Soutar was not to be found, the fact being that he had gone to see Miss Horn. The marquis flew into an awful rage, and began to curse and swear frightfully. “My lord! my lord!” said Malcolm, “for God’s sake, dinna gang on that gait. He canna like to hear that kin’ o’ speech—an’ frae ane o’ his ain tu!” The marquis stopped, aghast at his presumption, and choking with rage; but Malcolm’s eyes filled with tears, and instead of breaking out again, his master turned his head away and was silent. Mr Soutar came. “Fetch Morrison,” said the marquis, “and go to bed.” The wind howled terribly as Malcolm ascended the stairs and half felt his way, for he had no candle, through the long passages leading to his room. As he entered the last, a huge vague form came down upon him, like a deeper darkness through the dark. Instinctively he stepped aside. It passed noiselessly, with a long stride, and not even a rustle of its garments—at least Malcolm heard nothing but the roar of the wind. He turned and followed it. On and on it went, down the stair through a corridor, down the great stone turnpike stair, and through passage after passage. When it came into the more frequented and half-lighted thorough-fares of the house, it showed as a large figure in a long cloak, indistinct in outline. It turned a corner close by the marquis’s room. But when Malcolm, close at its heels, turned also, he saw nothing but a vacant lobby, the doors around which were all shut. One after another he quickly opened them, all except the marquis’s, but nothing was to be seen. The conclusion was that it had entered the marquis’s room. He must not disturb the conclave in the sick-chamber with what might be but “a false creation, proceeding from the heat-oppressed brain,” and turned back to his own room, where he threw himself on his bed and fell asleep. About twelve Mrs Courthope called him: his master was worse, and wanted to see him. The midnight was still, for the dark and wind had ceased. But a hush and a cloud seemed gathering in the stillness and darkness, and with them came the sense of a solemn celebration, as if the gloom were canopy as well as pall—black, but bordered and hearted with purple and gold; and the stillness seemed to tremble as with the inaudible tones of a great organ, at the close or commencement of some mighty symphony. With beating heart he walked softly towards the room where, as on an altar, lay the vanishing form of his master, like the fuel in whose dying flame was offered the late and ill-nurtured sacrifice of his spirit. As he went through the last corridor leading thither, Mrs Catanach, type and embodiment of the horrors that haunt the dignity of death, came walking towards him like one at home, her great round body lightly upborne on her soft foot. It was no time to challenge her presence, and yielding her the half of the narrow way, he passed without a greeting. She dropped him a courtesy with an uplook and again a vailing of her wicked eyes. The marquis would not have the doctor come near him, and when Malcolm entered there was no one in the room but Mrs Courthope. The shadow had crept far along the dial. His face had grown ghastly, the skin had sunk to the bones, and his eyes stood out as if from much staring into the dark. They rested very mournfully on Malcolm for a few moments, and then closed softly. “Is she come yet?” he murmured, opening them wide, with sudden stare. “No, my lord.” The lids fell again, softly, slowly. “Be good to her, Malcolm,” he murmured. “I wull, my lord,” said Malcolm solemnly. Then the eyes opened and looked at him; something grew in them— a light as of love, and drew up after it a tear; but the lips said nothing. The eyelids fell again, and in a minute more, Malcolm knew by his breathing that he slept. The slow night waned. He woke sometimes, but soon dozed off again. The two watched by him till the dawn. It brought a still grey morning, without a breath of wind, and warm for the season. The marquis appeared a little revived, but was hardly able to speak. Mostly by signs he made Malcolm understand that he wanted Mr Graham, but that some one else must go for him. Mrs Courthope went. As soon as she was out of the room, he lifted his hand with effort, laid feeble hold on Malcolm’s jacket, and drawing him down, kissed him on the forehead. Malcolm burst into tears, and sank weeping by the bedside. Mr Graham entering a little after, and seeing Malcolm on his knees, knelt also, and broke into a prayer. “O blessed Father!” he said, “who knowest this thing, so strange to us, which we call death, breathe more life into the heart of thy dying son, that in the power of life he may front death. O Lord Christ, who diedst thyself, and in thyself knowest it all, heal this man in his sore need—heal him with strength to die.” Came a faint Amen from the marquis. “Thou didst send him into the world: help him out of it. O God, we belong to thee utterly. We dying men are thy children, O living Father! Thou art such a father, that thou takest our sins from us and throwest them behind thy back. Thou cleanest our souls, as thy Son did wash our feet. We hold our hearts up to thee: make them what they must be, O Love, O Life of men, O Heart of hearts! Give thy dying child courage, and hope, and peace—the peace of him who overcame all the terrors of humanity, even death itself, and liveth for evermore, sitting at thy right hand, our God-brother, blessed to all ages—amen.” “Amen!” murmured the marquis, and slowly lifting his hand from the coverlid, he laid it on the head of Malcolm, who did not know it was the hand of his father, blessing him ere he died. “Be good to her,” said the marquis once more. But Malcolm could not answer for weeping, and the marquis was not satisfied. Gathering all his force he said again,— “Be good to her.” “I wull, I wull,” burst from Malcolm in sobs, and he wailed aloud. The day wore on, and the afternoon came. Still Lady Florimel had not arrived, and still the marquis lingered. As the gloom of the twilight was deepening into the early darkness of the winter night, he opened wide his eyes, and was evidently listening. Malcolm could hear nothing; but the light in his master’s face grew, and the strain of his listening diminished. At length Malcolm became aware of the sound of wheels, which came rapidly nearer, till at last the carriage swung up to the hall-door. A moment, and Lady Florimel was flitting across the room. “Papa! papa!” she cried, and, throwing her arm over him, laid her cheek to his. The marquis could not return her embrace; he could only receive her into the depths of his shining tearful eyes. “Flory!” he murmured, “I’m going away. I’m going—I’ve got—to make an—apology. Malcolm, be good——” The sentence remained unfinished. The light paled from his countenance —he had to carry it with him. He was dead. Lady Florimel gave a loud cry. Mrs Courthope ran to her assistance. “My lady’s in a dead faint!” she whispered, and left the room to get help. Malcolm lifted Lady Florimel in his great arms, and bore her tenderly to her own apartment. There he left her to the care of her women, and returned to the chamber of death. Meantime Mr Graham and Mr Soutar had come. When Malcolm re-entered, the schoolmaster took him kindly by the arm and said: “Malcolm, there can be neither place nor moment fitter for the solemn communication I am commissioned to make to you: I have, as in the presence of your dead father, to inform you that you are now Marquis of Lossie; and God forbid you should be less worthy as marquis than you have been as fisherman!” Malcolm stood stupefied. For a while he seemed to himself to be turning over in his mind something he had heard read from a book, with a nebulous notion of being somehow concerned in it. The thought of his father cleared his brain. He ran to the dead body, kissed its lips, as he had once kissed the forehead of another, and falling on his knees, wept, he knew not for what. Presently, however, he recovered himself, rose, and, rejoining the two men, said— “Gentlemen, hoo mony kens this turn o’ things?” “None but Mr Morrison, Mrs Catanach, and ourselves—so far as I know,” answered Mr Soutar. “And Miss Horn,” added Mr Graham. “She first brought out the truth of it, and ought to be the first to know of your recognition by your father.” “I s’ tell her mysel’,” returned Malcolm. “But, gentlemen, I beg o’ ye, till I ken what I’m aboot an’ gie ye leave, dinna open yer moo’ to leevin’ cratur aboot this. There’s time eneuch for the warl’ to ken ’t.” “Your lordship commands me,” said Mr Soutar. “Yes, Malcolm,—until you give me leave,” said Mr Graham. “Whaur’s Mr Morrison?” asked Malcolm. “He is still in the house,” said Mr Soutar. “Gang till him, sir, an’ gar him promise, on the word o’ a gentleman, to haud his tongue. I canna bide to hae ’t blaret a’ gait an’ a’ at ance. For Mistress Catanach, I s’ deal wi’ her mysel’.” The door opened, and, in all the conscious dignity conferred by the immunities and prerogatives of her calling, Mrs Catanach walked into the room. “A word wi’ ye, Mistress Catanach,” said Malcolm. “Certainly, my lord,” answered the howdy, with mingled presumption and respect, and followed him to the dining-room. “Weel, my lord,” she began, before he had turned from shutting the door behind them, in the tone and with the air, or rather airs , of having conferred a great benefit, and expecting its recognition. “Mistress Catanach,” interrupted Malcolm, turning and facing her, “gien I be un’er ony obligation to you, it’s frae anither tongue I maun hear ’t. But I hae an offer to mak ye: Sae lang as it disna come oot ’at I’m onything better nor a fisherman born, ye s’ hae yer twinty poun’ i’ the year, peyed ye quarterly. But the moment fowk says wha I am, ye touch na a poun’ note mair, an’ I coont mysel’ free to pursue onything I can pruv agane ye.” Mrs Catanach attempted a laugh of scorn, but her face was grey as putty, and its muscles declined response. “ Ay or no ,” said Malcolm. “I winna gar ye sweir, for I wad lippen to yer aith no a hair.” “Ay, my lord,” said the howdy, reassuming at least outward composure, and with it her natural brass, for as she spoke she held out her open palm. “Na, na!” said Malcolm, “nae forehan’ payments! Three months o’ tongue-haudin’, an’ there’s yer five poun’; an’ Maister Soutar o’ Duff Harbour ’ill pay ’t intill yer ain han’. But brak troth wi’ me, an’ ye s’ hear o’ ’t; for gien ye war hangt, the warl’ wad be but the cleaner. Noo quit the hoose, an’ never lat me see ye aboot the place again. But afore ye gang, I gie ye fair warnin’ ’at I mean to win at a’ yer by-ganes.” The blood of red wrath was seething in Mrs Catanach’s face; she drew herself up, and stood flaming before him, on the verge of explosion. “Gang frae the hoose,” said Malcolm, “or I’ll set the muckle hun’ to shaw ye the gait.” Her face turned the colour of ashes, and with hanging cheeks and scared but not the less wicked eyes, she turned from the room. Malcolm watched her out of the house, then following her into the town, brought Miss Horn back with him to aid in the last of earthly services, and hastened to Duncan’s cottage. But to his amazement and distress, it was forsaken, and the hearth cold. In his attendance on his father, he had not seen the piper —he could not remember for how many days; and on inquiry he found that, although he had not been missed, no one could recall having seen him later than three or four days agone. The last he could hear of him in the neighbourhood was, that, about a week before, a boy had spied him sitting on a rock in the Baillies’ Barn, with his pipes in his lap. Searching the cottage, he found that his broadsword and dirk, with all his poor finery, were gone. That same night Mrs Catanach also disappeared. A week after, what was left of Lord Lossie was buried. Malcolm followed the hearse with the household. Miss Horn walked immediately behind him, on the arm of the schoolmaster. It was a great funeral, with a short road, for the body was laid in the church—close to the wall, just under the crusader with the Norman canopy. Lady Florimel wept incessantly for three days; on the fourth she looked out on the sea and thought it very dreary; on the fifth she found a certain gratification in hearing herself called the marchioness; on the sixth she tried on her mourning, and was pleased; on the seventh she went with the funeral and wept again; on the eighth came Lady Bellair, who on the ninth carried her away. To Malcolm she had not spoken once. Mr Graham left Portlossie. Miss Horn took to her bed for a week. Mr Crathie removed his office to the House itself, took upon him the function of steward as well as factor, had the state-rooms dismantled, and was master of the place. Malcolm helped Stoat with the horses, and did odd jobs for Mr Crathie. From his likeness to the old marquis, as he was still called, the factor had a favour for him, firmly believing the said marquis to be his father, and Mrs Stewart his mother. Hence he allowed him a key to the library, of which Malcolm made good use. The story of Malcolm’s plans and what came of them, requires another book. THE END. *** END OF THE PROJECT GUTENBERG EBOOK MALCOLM *** 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

• Hill, Malcolm#169762
• The sea-hawk#29624
• Si'Wren of the Patriarchs#34088
• The Alkahest#26639
• Solomon#49454